In the United States District Court for the Eastern District of Pennsylvania

Total Page:16

File Type:pdf, Size:1020Kb

In the United States District Court for the Eastern District of Pennsylvania Case 2:08-cv-04775-TJS Document 57 Filed 03/30/11 Page 1 of 21 IN THE UNITED STATES DISTRICT COURT FOR THE EASTERN DISTRICT OF PENNSYLVANIA THE KNIT WITH, : : CIVIL ACTION Plaintiff, : : v. : : KNITTING FEVER, INC., : DESIGNER YARNS, LTD., : FILATURA PETTINATA V.V.G. DI : STEFANO VACCARI & C., SION : NO. 08-4221 ELALOUF, DIANE ELALOUF, JEFFREY : J. DENECKE, JR., JAY OPPERMAN, and : DEBBIE BLISS, : : Defendants. : THE KNIT WITH, : : CIVIL ACTION Plaintiff, : : v. : : EISAKU NORO & CO., LTD., : KNITTING FEVER, INC., : SION ELALOUF, DIANE ELALOUF, : NO. 08-4775 and JAY OPPERMAN, : : Defendants. : MEMORANDUM BUCKWALTER, S.J. March 29, 2011 Currently pending before the Court are Motions to Dismiss filed by Defendants Diane Elalouf, Jay Opperman, and Jeffrey J. Denecke, Jr. (collectively “Moving Defendants”). For the reasons which follow, Diane Elalouf’s Motion is granted, Jeffrey Denecke’s Motion is granted, and Jay Opperman’s Motion is denied. Case 2:08-cv-04775-TJS Document 57 Filed 03/30/11 Page 2 of 21 I. FACTUAL AND PROCEDURAL HISTORY The factual background of this case is one familiar to both the parties and the Court and has been reiterated in several of this Court’s prior opinions.1 This matter arises between Plaintiff, The Knit With (“The Knit”), a small, family-owned and operated business retailing specialty yarns and accessories to consumers, Defendant Knitting Fever, Inc. (“KFI”), a New York corporation that imports and distributes specialty yarns, KFI’s officers and directors, and Defendants Filatura Pettinata V.V.G. Di Stefano Vaccari & C. (“Filatura”), Debbie Bliss, and Designer Yarns, Inc. (“Designer Yarns”), all of whom are non-U.S. entities that design, manufacture, and/or distribute speciality yarns. At the core of the dispute is Plaintiff’s claim that KFI sold designer knitting yarns to The Knit, representing that the yarns contained a percentage of cashmere, which they allegedly did not. Following extensive motion practice by both parties, the Court has dismissed multiple claims and Defendants. The sole claims remaining in this action are: (1) breach of the express warranty of merchantability against Defendants KFI, Sion Elalouf, and Jay Opperman; (2) breach of the implied warranty of merchantability against Defendants KFI, Filatura, Sion Elalouf, and Jay Opperman; (3) injury to business and property pursuant to the Racketeer Influenced and Corrupt Organization Act (“RICO”), 18 U.S.C. § 1962 against Defendant Sion Elalouf; (4) conspiracy to cause injury to business and property pursuant to RICO, 18 U.S.C. §1962(d) against Defendants Sion Elalouf, Diane Elalouf, Jeffrey J. Denecke, Jr., and Jay Opperman; and (5) a piercing the corporate veil allegation against Defendants KFI, Sion Elalouf, and Diane Elalouf. In addition, 1 See The Knit With v. Knitting Fever, Inc., No. CIV.A.08-4221, 2008 WL 5381349, at *1-6 (E.D. Pa. Dec. 18, 2008); The Knit With v. Eisaku Noro, No. CIV.A.08-4775, 2008 WL 5273582, at *1-3 (E.D. Pa. Dec. 18, 2008); The Knit With v. Knitting Fever, Inc., Nos. CIV.A.08-4221, 08-4775, 2011 WL 891871, at *1-2 (E.D. Pa. Mar. 10, 2011). 2 Case 2:08-cv-04775-TJS Document 57 Filed 03/30/11 Page 3 of 21 Defendants Knitting Fever, Inc., Sion Elalouf, Diane Elalouf, Jeffrey J. Denecke, Jr., and Jay Opperman (collectively “the KFI Defendants”) have Counterclaims for defamation, tortious interference with existing and prospective contracts, and trade libel. On January 24, 2011, the Moving Defendants each filed a Motion for Judgment on the Pleadings pursuant to Federal Rule of Civil Procedure 12(c), claiming that the Complaint fails to adequately state a RICO conspiracy claim against them. Plaintiff filed separate Responses to each Motion on February 22, 2011.2 II. STANDARD OF REVIEW Under Rule 12(c) of the Federal Rules of Civil Procedure, “[a]fter the pleadings are closed - but early enough not to delay trial – a party may move for judgment on the pleadings.” FED. R. CIV. P. 12(c). The moving party bears the burden of demonstrating that the plaintiff has not stated a claim upon which relief can be granted. Hedges v. United States, 404 F.3d 744, 750 (3d Cir. 2005).3 In Bell Atl. Corp. v. Twombly, 550 U.S. 544 (2007), the United States Supreme Court recognized that “a plaintiff’s obligation to provide the ‘grounds’ of his ‘entitle[ment] to relief’ requires more than labels and conclusions, and a formulaic recitation of the elements of a cause of action will not do.” Id. at 555. It emphasized that it would not require a “heightened fact pleading of specifics,” but only “enough facts to state a claim to relief that is plausible on its face.” Id. at 570. 2 Moving Defendants filed a consolidated Reply brief on March 3, 2011. Upon receipt of a letter from Plaintiff’s counsel suggesting that Defendants had failed to comply with this Court’s previous ruling that the parties must seek leave before filing reply or sur-reply briefs, the Court struck the brief. As later pointed out by counsel for Moving Defendants, this ruling was in error, as they had actually sought and received this Court’s approval. Nonetheless, the Court deems the brief unnecessary to a proper ruling on the Motions for Judgment on the Pleadings. 3 Although most of the cases cited in this standard of review deal with Fed. R. Civ. P. 12(b)(6), the difference between Rules 12(b)(6) and 12(c) is purely procedural and there is “no material difference in the applicable legal standards.” Spruill v. Gillis, 372 F.3d 218, 223 n.2 (3d Cir. 2004). 3 Case 2:08-cv-04775-TJS Document 57 Filed 03/30/11 Page 4 of 21 Following the basic precepts of Twombly, the Supreme Court, in the subsequent case of Ashcroft v. Iqbal, 129 S. Ct. 1937 (2009), enunciated two fundamental principles applicable to a court’s review of a motion to dismiss for failure to state a claim. First, it noted that “the tenet that a court must accept as true all of the allegations contained in a complaint is inapplicable to legal conclusions. Threadbare recitals of the elements of a cause of action, supported by mere conclusory statements, do not suffice.” Id. at 1949. Thus, although “[Federal] Rule [of Civil Procedure] 8 marks a notable and generous departure from the hyper-technical, code-pleading regime of a prior era . it does not unlock the doors of discovery for a plaintiff armed with nothing more than conclusions.” Id. at 1950. Second, the Supreme Court emphasized that “only a complaint that states a plausible claim for relief survives a motion to dismiss.” Id. “Determining whether a complaint states a plausible claim for relief will . be a context-specific task that requires the reviewing court to draw on its judicial experience and common sense.” Id. The Supreme Court explained: The plausibility standard is not akin to a “probability requirement,” but it asks for more than a sheer possibility that a defendant has acted unlawfully. Where a complaint pleads facts that are “merely consistent with” a defendant’s liability, it “stops short of the line between possibility and plausibility of ‘entitlement to relief.’” Id. at 1949 (citing Twombly, 550 U.S. at 556-57). Expanding on the Twombly/Iqbal standards, the United States Court of Appeals for the Third Circuit succinctly summarized the two-prong analysis to be undertaken by district courts during a Rule 12(b)(6) review: [A]fter Iqbal, when presented with a motion to dismiss for failure to state a claim, district courts should conduct a two-part analysis. First, the factual and legal elements of a claim should be separated. The district court must accept all of the complaint’s well-pleaded facts as true, but may disregard any legal conclusions. Second, a district court must then determine whether the facts alleged in the 4 Case 2:08-cv-04775-TJS Document 57 Filed 03/30/11 Page 5 of 21 complaint are sufficient to show that the plaintiff has a “plausible claim for relief.” In other words, a complaint must do more than allege the plaintiff’s entitlement to relief. A complaint has to show such an entitlement with its facts. As the Supreme Court instructed in Iqbal, where the well-pleaded facts do not permit the court to infer more than the mere possibility of misconduct, the complaint has alleged – but it has not shown – that the pleader is entitled to relief. This plausibility requirement will be a context-specific task that requires the reviewing court to draw on its judicial experience and common sense. Fowler v. UPMC Shadyside, 578 F.3d 203, 210-11 (3d Cir. 2009) (internal citations omitted). Notwithstanding the foregoing, nothing in Twombly, Iqbal, or Fowler altered some of the fundamental underpinnings of the Rule 12(b)(6) standard of review. Arner v. PGT Trucking, Inc., No. CIV.A.09-565, 2010 WL 1052953, at *2 (W.D. Pa. Mar. 22, 2010); Spence v. Brownsville Area Sch. Dist., No. CIV.A.08-626, 2008 WL 2779079, at *2 (W.D. Pa. July 15, 2008). Federal Rule of Civil Procedure 8 still requires only a short and plain statement of the claim showing that the pleader is entitled to relief and need not contain detailed factual allegations. FED. R. CIV. P. 8; Phillips v. Cnty. of Allegheny, 515 F.3d 224, 233 (3d Cir. 2008). Further, the court must “accept all factual allegations in the complaint as true and view them in the light most favorable to the plaintiff.” Buck v. Hampton Twp. Sch. Dist., 452 F.3d 256, 260 (3d Cir.
Recommended publications
  • Textile Industry Needs Christopher D
    The Journal of Cotton Science 21:210–219 (2017) 210 http://journal.cotton.org, © The Cotton Foundation 2017 ENGINEERING & GINNING Textile Industry Needs Christopher D. Delhom, Vikki B. Martin, and Martin K. Schreiner ABSTRACT lthough the immediate customer of the gin is Athe cotton producer, the end user of the ginned The immediate customers of cotton gins are lint is the textile mill, retailers, and eventually the the producers; however, the ultimate customers consumer. Thus, it is essential for the ginner to are textile mills and consumers. The ginner has satisfy both the producers and the textile industry. the challenging task to satisfy both producers and Consequently, the ginner needs to be aware of the the textile industry. Classing and grading systems needs of the textile industry. are intended to assign an economic value to the The intent of the cotton classing and grading bales that relates to textile mill demands and the system is to assign an economic value to the bale that quality of the end product. International textile documents its properties as it relates to the quality of mills currently are the primary consumers of U.S. the end product. Since the last edition of the Cotton cotton lint where it must compete against foreign Ginners Handbook in 1994, the customers of U.S. origins. International textile mills manufacture cotton have changed radically, shifting from primar- primarily ring-spun yarns, whereas domestic mills ily domestic to international mills. International mills manufacture predominantly rotor spun yarns. Pro- have been accustomed primarily to hand-harvested ducers and ginners must produce cottons to satisfy cotton that has been processed at slow ginning all segments of the industry, i.e., domestic and in- rates.
    [Show full text]
  • Sulphur Butterfly Crochet Pattern
    Sulphur Butterfly Crochet Pattern MATERIALS DK-weight (#3) yarn in yellow/white and tan/grey/brown 3.5mm (E) crochet hook Tapestry needle Scissors GLOSSARY OF TERMS & ABBREVIATIONS chain stitch (ch): To make, draw yarn through the active loop on the hook. fasten off: cut the yarn 3 to 4 inches from the last stitch and draw the end through the active loop. Pull tightly to secure. double crochet stitch (dc): To make, yarn over, insert hook into indicated stitch, draw up a loop, (there will be three loops on the hook) yarn over and draw through two loops, yarn over and draw through two loops again. double-treble crochet stitch (dtc): To make, yarn over three times, insert hook in indicated stitch, draw up a loop (there will be 5 loops on the hook), yarn over and draw through 2 loops four times. front loop only (FLO): Indicates the location of where to place a stitch. Out of the two loops in the top of a stitch, only work under the one which is closest to the crocheter. half-double crochet stitch (hdc): To make, yarn over, insert hook into indicated stitch, draw up a loop, (there should be three loops on the hook) yarn over and draw through all three loops. long single crochet (spike stitch): To make, insert hook into the indicated location in a previous row, draw up a long loop (back up to the current row), yarn over and draw through both loops. single crochet stitch (sc): To make, insert your hook into the indicated stitch, draw up a loop, yarn over and draw through both loops.
    [Show full text]
  • Mending As Practice and Expression Pocosin Arts Online - August 2021 Material Suggestions
    Mending as Practice and Expression Pocosin Arts Online - August 2021 Material Suggestions I want this experience to ft with what you have on hand and what you want to learn! I will link to sources of some supplies I like below, but there is no need to purchase anything unless you want to and think you will use it. You can also check the links to compare supplies to those you may already have. And of course you can get supplies anywhere you like. The most important thing you will need is some fabric scraps or worn-out textles to practce mending on (not your absolute favorite thing to start with). There are two broad categories of fabrics, based on how they are made; woven (like jeans, dress shirts, and sheets) and knited (like sweaters, socks, and T-shirts). We will talk a lot more about these in class. Each type lends itself to somewhat diferent tools and techniques. If you can, I encourage you to fnd a few scraps of each type to practce on, ideally in fabrics that are similar to the items you want to mend. These will also be a good source of material to cut patches from. I will be in touch before our class starts to fnd out about the projects you want to work on. For now, here are some general suggestons of materials and tools you may want to have on hand. In the meantme, feel free to contact me with any questons! [email protected] Threads You may want to use anything from sewing thread to wool yarn in your mending, depending on what you want to fx.
    [Show full text]
  • 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.
    [Show full text]
  • How to Slip Knot & Chain Stitch
    How to Slip Knot & Chain Stitch Appearance in pattern - ch Crochet usually begins with a series of chain stitches called a beginning or foundation chain. A slip knot is the first step in most crochet projects. We will begin by making a slip knot on the crochet hook about 6 inches from the free end of the yarn. You will first start by creating a loop with the yarn. Be sure that the free end of the yarn is dangling behind your loop (see illustration 3). Insert the crochet hook through the center of the loop and hook the free end (see illustration 4). Pull this through and up onto the working area of the crochet hook (see illustration 5). Pull the free yarn end to tighten the loop (see illustration 6). The loop on the crochet hook should be firm, but loose enough to slide back and forth easily on the hook. Be sure you still have about a 6-inch yarn end. Once you have the yarn wrapped, hold the base of the slip knot with the thumb and index finger of your left hand. Step 2: Bring the yarn over the crochet hook from back to front and hook it (see illustration 8). Draw hooked yarn through the loop of the slip knot on the hook and up onto the working area of the crochet hook (see arrow on illustration 9); you have now made one chain stitch (see illustration 10). Step 3: Again, hold the base of the slip knot and bring the yarn over the crochet hook from back to front (see illustration 11).
    [Show full text]
  • Reflecting Noble Luxury and Refinement, New Lightweight Wool Materials Are of Key Interest to Designers, Retailers and Bespoke Tailors
    Reflecting noble luxury and refinement, new lightweight wool materials are of key interest to designers, retailers and bespoke tailors. Beyond demanding perfected fits and wool’s signature aesthetic, discerning consumers expect emotional, sensorial tactility in garments. Responding to luxury market demands, leading Italian and English spinners and weavers are introducing exclusive fine-micron yarns and fabrics, derived from rare Australian merino. Stylesight explores Baruffa Group’s finest wool yarns for first-class sweater knits, cut-and-sew jersey, and wovens. Vogue Australia December 2012 / Elizabeth Debicki in wool, on location at Haddon Rig, a Merino wool farm in New South Wales. With seductive, magnetic charm, lighter weight but often still densely constructed wovens and knits are key on men and women's runways and at textile trade shows. Wool—traditionally a winter fiber—evolves with cutting-edge superfine qualities from 150s and 180s up to 250s. Offering noble refinement and unique trans-seasonal possibilities, wool moves beyond its pastime connotations. Gossamer knits / Posh mesh / Lightweight jerseys / Dense, hefty yet lightweight wools Finest wool Fabrics F/W 13 Dormeuil Limited Edition - finest wool yarns Zegna Baruffa Lane Record Bale - finest wool fabric Loro Piana Borgosesia Finest wool Fabrics Taylor & Lodge Meticulous fiber selection from choice breeds, along with revolutionary spinning and weaving technologies, is core to new noble wool productions. Wools characterized by strength, elasticity, fluidity, low pilling and
    [Show full text]
  • Simple Crocheted Blanket Materials • Hook – Size G • Yarn – Acrylic Baby
    Simple Crocheted Blanket Materials Hook – Size G Yarn – Acrylic Baby Yarn (NO MOHAIR) 140 Stitches for 36”‐38”; 3‐ply – 120 stitches (approx.); 4 –ply – 100 stitches (approx.) Instructions ROW 1 – Chain enough stitches to make string 36‐38” ROW 2 – Double crochet in each chain, starting in 3rd stitch; Chain 3 turn ROW 3 to END – Starting in 2nd DC; continue back and forth until blanket is square. FINISH Tie off end; Weave end of thread into blanket. NO FRINGE PLEASE Option– Single crochet around 4 sides (making 3 S.C. in corner stitch) as a border. Marge’s “Very Easy” Crochet Baby Blanket Materials Baby or Sport Yarn (approximately 6 skeins – 3 ply) G Hook Instructions Row 1 – Chain 140 stitches (36”‐38”) or 100 stitches with 4‐ply Row 2 – DC (Double Crochet) in 4th stitch from end, DC across; at end Ch. 3 Row 3 – DC in 1st DC, continue across row, Ch. 3 at end; Repeat Row 3 until blanket is square Last Row = Tie off end. Weave 2‐3” of yarn into blanket to hide end. Option – Can do a crochet edge around just as a finish. Bev's Stretchy Knit Baby Cap copyright 2001, 2010 Beverly A Qualheim This cap can be made for a boy or girl preemie, and fits from 2- 3 lbs- (4-5 lb) (7-8 lb) babies . It is super fast to knit up and will stretch to fit. 1 oz. of sport or baby yarn - not fingering Size 9 knitting needles (size 5 Canadian and English -5.5 mm) Loosely cast on 36 (44) (50) sts.
    [Show full text]
  • STITCH AWAY SCARF Pattern 1: “Quaker Ridging” (40 Sts) Row 1: Knit
    STITCH AWAY SCARF Pattern 1: “Quaker Ridging” (40 sts) Row 1: Knit. Chicago Yarn Crawl Pattern 2019 Row 2: Purl. Row 3: Knit. This scarf was inspired by Barbara Walker’s Row 4: Purl. A Treasury of Knitting Patterns. There are seven Row 5: Knit. different stitch patterns used in this scarf, starting Row 6: Knit. out with easy and becoming more difficult. At Row 7: Knit. times you may need to increase or decrease the Row 8: Purl. number of stitches on your needles in order to Row 9: Knit. Row 10: Purl. accommodate the various stitch patterns. So, cast Row 11: Knit. on and “stitch away”! Row 12: Knit. Row 13: Purl. YARN: Kelbourne Woolens Germantown, 2 Row 14: Knit. skeins Repeat rows 1-14 until pattern 1 measures 8”. Needles: U.S. 8 Knit 5 rows. Knit 1 more row, increasing 1 after the initial K4. Cast on 40 stitches and knit every row for 6 rows. The first 4 stitches and last 4 stitches are knit Pattern 2: “Broken Rib” (41 sts) every row (garter stitch). You should place a Row 1: Knit th marker after the 4 stitch and before the last 4 Row 2: Purl stitches to “remind” you to work these stitches in Row 3: (K1, P1) repeat, end with K1. garter. The following stitch patterns are worked in Row 4: (P1, K1) repeat, end with P1. between these markers. Repeat these 4 rows until you have worked 8” in Pattern 2. Source: Walker, Barbara G., A Treasury of Knitting Patterns, published by Charles Scriber’s Knit for 6 rows.
    [Show full text]
  • Designing 2D and 3D Textiles Using Yarn Engineering and Vr
    INTERNATIONAL DESIGN CONFERENCE - DESIGN 2002 Dubrovnik, May 14 - 17, 2002. DESIGNING 2D AND 3D TEXTILES USING YARN ENGINEERING AND VR Zoran Stjepanovic and Anton Jezernik Keywords: Yarn Engineering, 2D and 3D Textiles, Machine Learning, Virtual Reality 1. Introduction Virtual reality presents a promising technology that can be treated as a potential enrichment of conventional computer aided technologies. The contribution gives an overview of the application of yarn engineering and virtual reality for designing linear and flat textile structures, as well as clothing products. Modern textile and garment manufacturers will be soon able to use the entire range of conventional CAD/CAM systems together with virtual reality and Internet-based technologies in order to strengthen their position on the market building a completely new electronic-business offer. Numerous researches from theory and technology of spinning have shown how we can influence the mechanical properties and regularity of a yarn as well as significantly reduce the number of yarn faults using the appropriate raw material and suitable mixing proportion. In the first part of this contribution the influence of quality characteristics of cotton fibres and constructional parameters of a yarn on the most important properties of cotton yarn are presented. The achieved results have been used for determination of optimised cotton fibre blends regarding the quality of price of a cotton yarn. The second part of a paper discusses the possibilities to use the results of yarn engineering for setting- up the complex system for virtual fabric and garment development, which, together with the intelligent textile and garment manufacture, can be treated as the most important parts of the Global Retailing Concept.
    [Show full text]
  • Free Knitting Pattern Lion Brand® Woolease® Tonal Grape Jam
    Free Knitting Pattern Lion Brand® Wool­Ease® Tonal Grape Jam Wristers Pattern Number: L50323 Free Knitting Pattern from Lion Brand Yarn Lion Brand® Wool­Ease® Tonal Grape Jam Wristers Pattern Number: L50323 SKILL LEVEL: Beginner (Level 1) SIZE: One Size Finished Circumference About 7 in. (18 cm) Finished Length About 8 in. (20.5 cm) CORRECTIONS: (applied Mar 10, 2016) MATERIALS 635­145 Wool­Ease Tonal: Plum 635­144 Wool­Ease Tonal: Amethyst MATERIALS *Wool­Ease Tonal (Article #635). 80% Acrylic, 20% Wool; package size: 4.00oz/113.00 gr. (124yds/113m) pull skeins • 635­144 Lion Brand Wool­ Ease Tonal: Amethyst 1 Ball • Lion Brand Knitting Needles Size 11 [8 mm] • Lion Brand Large­Eye Blunt Needles (Set of 6) GAUGE: 13 sts = about 4 in. (10 cm) over Rows 7 and 8 of pattern. When you match the gauge in a pattern, your project will be the size specified in the pattern and the materials specified in the pattern will be sufficient. The needle or hook size called for in the pattern is based on what the designer used, but it is not unusual for gauge to vary from person to person. If it takes you fewer stitches and rows to make your swatch, try using a smaller size hook or needles; if more stitches and rows, try a larger size hook or needles. Making a Gauge Swatch NOTES: 1. Wristers are worked in one piece with ribbing at both edges. 2. Wristers are seamed, leaving openings for thumbs. WRISTERS (make 2) Cast on 23 sts. Row 1 (RS): P1, *k1, p1; repeat from * across.
    [Show full text]
  • Yarn Couching
    Threads n Scissors Machine Yarn Couching IMPORTANT: PLEASE READ Materials These designs are made to be used with a Freemotion Yarn Stabilizer: Couching Foot. Please check with your dealer regarding this Either two layers of foot for your machine. water soluble OR I own a Bernina Artista and use the #43 foot 1 layer of cutaway The designs are smaller than a regular design. Be sure to use a large hoop for these designs. The Yarn Couching Foot is Freemotion Yarn Couching Foot LARGER than a normal embroidery foot and needs the extra space not to hit into the hoop. 2mm diameter yarn or Before starting any Yarn Couching Design, snap the Yarn cording to be used with foot Couching Foot firmly into place, put your hoop into the ma- chine and LIFT the pressure foot. Check the design or Trace Fabric of choice, I used the design to be sure that the foot won’t hit the embroidery suede type fabric hoop when stitching. When you are sure all is right, you may start stitching your designs. Embroidery thread Follow these Instructions to continue with the stitching of your design. No 80 embroidery needle or needle rec- ommended to be used Hoop either 2 layers of water soluble stabilizer OR 1 layer of cutaway stabilizer with couching foot with your fabric. Using a normal embroidery foot, stitch out the design leaving the last color. Some of the Designs may have the same color used two or three times at the end. Don’t stitch these yet. These are color stops used for the yarn or cording.
    [Show full text]
  • Current and Future Trends in Yarn Production1
    Volume 2, Issue 2, Spring 2002 CURRENT AND FUTURE TRENDS IN YARN PRODUCTION1 William Oxenham, Ph.D. College of Textiles, North Carolina State University ABSTRACT While developments in yarn manufacturing continue to be promoted by machinery makers, spinners are challenged to produce the best quality yarn at an acceptable price. This often results in a compromise, since improved yarn quality can usually only be achieved at a higher processing cost (including raw material selection). An additional difficulty is that the significance of the various attributes of quality change for different yarn’s end uses. While the solution to lowering yarn costs, that has been adopted in recent years has been to create large, almost fully automated spinning mills, this philosophy is presently being questioned, since this significantly reduces flexibility with respect to the fiber and yarn type that can be processed. This is obviously at odds with the current paradigm of customer driven, quick response manufacturing, since this demands inherent flexibility in the successful supplier. This paper reviews the current state of technological innovation in yarn production and examines the relative merits and disadvantages of each system. Some insight will also be given concerning those factors that limit further development of some of these systems. Historical trends in US yarn production have also been surveyed, and the combined information obtained is used as an indicator of the future directions in this key industry. KEYWORDS: Yarn Production, Spinning, Vortex Spinning, Centrifugal Spinning 1. INTRODUCTION shortcomings in certain aspects of yarn and fabric quality (Figure 2). This aspect Research into new technology for yarn cannot be over stressed since while ring formation peaked in the 60’s & 70’s.
    [Show full text]