Textile Glossary Astrakhan Fabric: Knitted Or Woven
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Convertible Collar Construction
Convertible Collar Construction Directory Click any image to go to that section Yoke/Facing Options: Intro and Gallery By far the most common set-up for a The purpose of this introductory section is to convertible-collar shirt is that it has front facings feature and compare the range of other options and a yoke, and that these two details don’t touch, also, if less commonly, in use beyond this classic as in the example at right. one, before I proceed to work step-by-step through a handful of useful variants . Many other possible That is, the facings don’t extend far enough combinations, and of course, variations on the towards the shoulders at the neckline that they’ll ones here, are conceiveable and may suit your meet with or join to the fronts of the yoke layers. As project better, so feel free to experiment. a result, the yoke construction steps aren’t integrated into the collar steps and are completed, in front at least, before the collar is begun, so the options for using the yoke as a back facing are eliminated. The steps for this classic arrangement are described below in Variation #5, in the Front Facing Only category. Collar Insertion Options Step-By-Step No Yoke or Facings Required Front facings Only Front and Back Facings, or Yoke Used as Facing Variation 1: Collar Applied as Band Variation 3: Collar’s Back Neckline Edge-Stitched Variation 6: Back Facings 1 3 and Facings Secured at Shoulder Seams 6 Options: Options: 1. Edge-stitched neckline 2. -
', :':':;"Texa's- Agricultural , Ex-Ten '
4> ~ -,' , :':':;"TEXA'S- AGRICULTURAL , EX-TEN ' . ... -:>-.~ -~•• ,....,~ hi.t~.' ~ ___ '>::"'" - 'J. E .. 'Hutchison, 'Director, College:.shlt~QP" Texas GRAHAM HARD NENA ROBERSON RHEBA MERLE BOYLES FANNIE BROWN EATON EXTENSION CLOTHING SPECIALISTS The A. and M. College of Texas THE CHARACTERISTICS OF FABRICS which . give 3. Fabrics made of chemically treated cotton, them the virtues of quick drying, crease re linen and rayon. The resin finishes are the most sistance, little or no ironing, keeping their orig commonly used. These finishes should last the inal shape and size during use and care, retaining normal life of a garment. a look of newness and fresh crispness after being worn and cleaned continuously also create sewing FABRIC SELECTION difficulties. The surface often is smoother and The best guides in the selection of quality harder which makes the fabric less pliable and fabrics are informative labels of reputable manu more difficult to handle. These qualities can facturers. Good quality finishes add to the cost cause seams to pucker. Even in the softest blends of fabrics, but compensate for the extra cost in there is a springiness which requires more care in durability and appearance. handling ease, as in the sleeve cap. Each fabric presents different problems. Look Wash-and-wear fabrics may be divided into at the fabric and feel it. Is it closely or loosely three groups: woven? Is it soft and firm, or stiff and wiry? 1. Fabrics woven or knitted from yarns of Will it fray? What style pattern do you have in 100 percent man-made fibers. These fabrics, if mind? properly finished, are highly crease resistant and The correctness of fabric grain is important keep their original shape and size during use and in sewing. -
The Textiles of the Han Dynasty & Their Relationship with Society
The Textiles of the Han Dynasty & Their Relationship with Society Heather Langford Theses submitted for the degree of Master of Arts Faculty of Humanities and Social Sciences Centre of Asian Studies University of Adelaide May 2009 ii Dissertation submitted in partial fulfilment of the research requirements for the degree of Master of Arts Centre of Asian Studies School of Humanities and Social Sciences Adelaide University 2009 iii Table of Contents 1. Introduction.........................................................................................1 1.1. Literature Review..............................................................................13 1.2. Chapter summary ..............................................................................17 1.3. Conclusion ........................................................................................19 2. Background .......................................................................................20 2.1. Pre Han History.................................................................................20 2.2. Qin Dynasty ......................................................................................24 2.3. The Han Dynasty...............................................................................25 2.3.1. Trade with the West............................................................................. 30 2.4. Conclusion ........................................................................................32 3. Textiles and Technology....................................................................33 -
Finish That Seam Barbara Short Iowa State College
Volume 30 Article 7 Number 5 The Iowa Homemaker vol.30, no.5 1950 Finish That Seam Barbara Short Iowa State College Follow this and additional works at: http://lib.dr.iastate.edu/homemaker Part of the Home Economics Commons Recommended Citation Short, Barbara (1950) "Finish That Seam," The Iowa Homemaker: Vol. 30 : No. 5 , Article 7. Available at: http://lib.dr.iastate.edu/homemaker/vol30/iss5/7 This Article is brought to you for free and open access by the Student Publications at Iowa State University Digital Repository. It has been accepted for inclusion in The oI wa Homemaker by an authorized editor of Iowa State University Digital Repository. For more information, please contact [email protected]. Finish That Seam - But fi rst be sure the finish is the proper one for you r material. Here are the recent 1 findings of two textiles and I clothing graduate students. I I j I I J I I J by Barbara Short I J Technical Journalism Junior I I I J I I I > HEN your mother was a little girl, often seam I > j W stresses stayed in the house for a week to outfit "'--- I the family each year. Then the inside of a dress was just as finished as the outside. Those seamstresses took 1. Double-stitch finish; 2. Pinked finish; 3. Q,·er-cast edges. pains to finish each seam so that they could be sure it wouldn't ravel. Recent graduate research at Iowa State has taken guesswork out of seam finishing. Find Hiltbold points out that the ridge produced when ings will mean no more unnecessary sewing or hope the edge is turned shows on certain fabrics. -
TREND SETTER 205464 ADORNED 215482 FEMME 1 $425 5 $325 FUCHSIA-CAMPARI RED-DEEP FUCHSIA Stretch Crepe Sheath RED Bi-Colored Twill Embellished with Sheer Lace Trim
1 TREND SETTER 205464 ADORNED 215482 FEMME 1 $425 5 $325 FUCHSIA-CAMPARI RED-DEEP FUCHSIA stretch crepe sheath RED bi-colored twill embellished with sheer lace trim. Fitted. military jacket with sequined Shaped with bust darts, ribbon trim. Regular fit. Shaped princess seams, waist seams, with front and back princess side seams and center back seams. Stand collar with Red seam. Jewel neckline, short velvet facing, hook-and-eye raglan sleeves, pencil skirt, closures, long sleeves with hidden back zipper, hook-and- deep satin-faced vented three eye closure. Sheer lace, dyed snap cuffs. Banded hem patch to match lining at shoulders pockets at chest. Sequined and side panels from hip-to- ribbon trim at collar, placket, hem, sleeves unlined. 2” hem. pockets, cuffs and satin-piped Back vent. Fully lined. Length: hem. Shoulder pads. Fully lined. 23”. Sizes 00-16. Length: 20 1/2 ”. Sizes 00-16. 67% polyester, 29% viscose, 42% acrylic, 26% polyester, 4% elastane 17% wool, 15% viscose 2 | 8 | 10 | 2 | 8 | 10 | 4 | 6 8 | 2/14 | 8 | 6 | 10 | 4 | 12/0 | 10 203318 ARTISTRY 205475 RADIANT 210475 ROMANTIC 2 $225 6 $495 9 $195 FUCHSIA-CAMPARI RED– CAMPARI RED-FUCHSIA- FUCHSIA rayon-blend jersey SAPPHIRE BLUE-AUBURN- BLACK-DEEP RED-AUBURN sweater with point d’esprit lace BLACK Paisley print on silk large Paisley printed stretch mesh trim. Regular fit. Jewel georgette cami with scarf cotton velveteen tie-belted neckline with small knit bow neckline. Regular fit. Shaped trench jacket. Regular fit. Shaped and lace mesh insert at yoke, with bust darts, gathers at with front and back princess long sleeves. -
CATEGORY TITLE AUTHOR Basic Weaving/Techniques Mastering
CATEGORY TITLE AUTHOR Basic Weaving/Techniques Mastering Weave Structures Alderman Basic Weaving/Techniques Textile Handbook Ame Basic Weaving/Techniques Shuttle Craft Book of American Handweaving Atwater Basic Weaving/Techniques Finishes in the Ethnic Tradition Baizerman Basic Weaving/Techniques Key to Weaving Black Basic Weaving/Techniques Book of Looms: History of Handloom Broudy Basic Weaving/Techniques Understanding Rayon Chenille Butler Basic Weaving/Techniques Learning to Weave Chandler Basic Weaving/Techniques Simple Weaving Chetwynd Basic Weaving/Techniques Craft of the Weaver Colllingwood Basic Weaving/Techniques All About Weaving: Comprehensive Guide to the Craft Creager Basic Weaving/Techniques Weaving: A Creative Approach for Beginners Creager Basic Weaving/Techniques Samplers You Can Use Drooker Basic Weaving/Techniques Easy Weaving With Supplemental Warps Essen Basic Weaving/Techniques Warping All by Yourself Garrett Basic Weaving/Techniques Next Steps in Weaving Graver Basic Weaving/Techniques Sectional Warping Made Easy Groff Basic Weaving/Techniques Weaving: A Handbook of the Fiber Arts Held Basic Weaving/Techniques Creative Weaving Howard Basic Weaving/Techniques Warp and Weave LeClerc Basic Weaving/Techniques Everybody's Weaving Book Lewis Basic Weaving/Techniques Hands on Weaving Liebler Basic Weaving/Techniques Weaver's Companion Ligon Basic Weaving/Techniques Manual of Helpful Hints forHandweavers Mannings Basic Weaving/Techniques Compendium of Finishing Techniques McEneely Basic Weaving/Techniques Weaving as an -
Glossary of Sewing Terms
Glossary of Sewing Terms Judith Christensen Professional Patternmaker ClothingPatterns101 Why Do You Need to Know Sewing Terms? There are quite a few sewing terms that you’ll need to know to be able to properly follow pattern instructions. If you’ve been sewing for a long time, you’ll probably know many of these terms – or at least, you know the technique, but might not know what it’s called. You’ll run across terms like “shirring”, “ease”, and “blousing”, and will need to be able to identify center front and the right side of the fabric. This brief glossary of sewing terms is designed to help you navigate your pattern, whether it’s one you purchased at a fabric store or downloaded from an online designer. You’ll find links within the glossary to “how-to” videos or more information at ClothingPatterns101.com Don’t worry – there’s no homework and no test! Just keep this glossary handy for reference when you need it! 2 A – Appliqué – A method of surface decoration made by cutting a decorative shape from fabric and stitching it to the surface of the piece being decorated. The stitching can be by hand (blanket stitch) or machine (zigzag or a decorative stitch). Armhole – The portion of the garment through which the arm extends, or a sleeve is sewn. Armholes come in many shapes and configurations, and can be an interesting part of a design. B - Backtack or backstitch – Stitches used at the beginning and end of a seam to secure the threads. To backstitch, stitch 2 or 3 stitches forward, then 2 or 3 stitches in reverse; then proceed to stitch the seam and repeat the backstitch at the end of the seam. -
Buckram Is a Heavy-Duty Bookbinding Cloth That Offers a Distinct, Woven Texture
B UCKRAM BOODLE BOOKS Buckram is a heavy-duty bookbinding cloth that offers a distinct, woven texture. PRICING Our two lines, Conservation and English, are formulated with a matte finish in Prices are per book, nonpadded with square corners. Includes Summit Leatherette or Arrestox B lining. a variety of well-saturated colors. Both are stain resistant and washable. Your See options below. logo can be foil or blind debossed or silk screened. PART No. SHEET SIZE 25 50 100 SINGLE PANEL 1 view Conservation Buckram 7001C-BUC 8.5 x 5.5 10.95 9.80 8.60 Strong, thick poly-cotton with subtle linen look 7001D-BUC 11 x 4.25 10.45 9.30 8.10 logo 7001E-BUC 11 x 8.5 13.25 12.10 10.90 7001F-BUC 14 x 4.25 11.55 10.40 9.20 red maroon green army green CBU-RED CBU-MAR CBU-GRN CBU-AGR 7001G-BUC 14 x 8.5 14.40 13.25 12.10 front back 7001H-BUC 11 x 5.5 11.65 10.50 9.30 7001I-BUC 14 x 5.5 12.75 11.60 10.40 7001J-BUC 17 x 11 19.65 18.50 17.30 SINGLE PANEL - DOUBLE-SIDED 2 views royal navy rust medium grey 7001C/2-BUC 8.5 x 5.5 10.95 9.80 8.60 CBU-ROY CBU-NAV CBU-RUS CBU-MGY 7001D/2-BUC 11 x 4.25 10.45 9.30 8.10 7001E/2-BUC 11 x 8.5 13.25 12.10 10.90 7001F/2-BUC 14 x 4.25 11.55 10.40 9.20 front back 7001G/2-BUC 14 x 8.5 14.40 13.25 12.10 7001H/2-BUC 11 x 5.5 11.65 10.50 9.30 tan brown black 7001I/2-BUC 14 x 5.5 12.75 11.60 10.40 CBU-TAN CBU-BRO CBU-BLK 7001J/2-BUC 17 x 11 19.65 18.50 17.30 DOUBLE PANEL 2 views Royal Conservation Buckram 7002C-BUC 8.5 x 5.5 18.50 17.20 15.80 CBU-ROY 7002D-BUC 11 x 4.25 19.15 17.80 16.45 7002E-BUC 11 x 8.5 23.30 21.80 20.40 7002F-BUC -
Woven Fabrics
Fabric – Woven Fabrics WOVEN FABRICS Fabrics are made of yarns by weaving them in different combinations. It is mostly done by interlacing two sets of yarn or thread made of fibers called the warp and weft of the loom. It only stretches in the bias directions, between the warp and weft directions, unless the threads are elastic. Lengthwise stronger vertical yarns with more twist are Warp or Picks while widthwise filling yarns are termed as weft or ends. Sidewise edge of fabric is termed as Selvedge. THREE BASIC WEAVES There are three main types of weave: Plain, Twill and Satin Plain weave is a basic weave which is made when the thread is woven on one up and one down principle, some plain weave fabrics are Chambray, Chiffon, Gingham, and Organza etc. Twill weave is made when the thread is placed by varying the order of interlacing the yarns so that diagonal parallel lines are produced across the fabric. Satin Weave is a weave made when each warp yarn floats over four filling yarns and interlaces with fifth filling yarn. Plain weave Twill weave Satin weave Fabric – Weft Knit Fabrics Knitted Fabrics Knitting is the process of construction of a fabric by interlocking loops of yarn by means of hooked needles. Knitted fabric consists of horizontal rows known as courses and vertical columns of loops known as Wales. Knitted fabrics are porous having insulated air pockets giving warmth when worn. Knitted fabrics are very absorbent, wrinkle resistant and lightweight. They shrink more than woven fabrics unless shrink- proofing techniques are used. -
THE LEICESTERSHIRE ARCHJEOLOGICAL and HISTORICAL SOCIETY 1967-68 President Professor Jack Simmons, M.A., F.R.HIST.S., F.R.S.L
THE LEICESTERSHIRE ARCHJEOLOGICAL AND HISTORICAL SOCIETY 1967-68 President Professor Jack Simmons, M.A., F.R.HIST.S., F.R.S.L. * President-Emeritus Colin D. B. Ellis, Esq., C.B.E., M.C., M.A., F.S.A, * Vice-Presidents Kathleen, Duchess of Rutland The Hon. Lady Martin The Right Reverend The Lord Bishop of Leicester, D.D. The High Sheriff of Leicestershire The Right Worshipful The Lord Mayor of Leicester The Very Reverend H. A. Jones, B.SC. Victor Pochin, Esq., C.B.E., M.A., D,L., J.P. A. Bernard Clarke, Esq. Levi Fox, Esq., M.A., F.S.A. Professor W. G. Hoskins, M.A., M.Sc., PH,D. Miss K. M. Kenyon, C.B.E., M.A., D.LITT., F.B.A., F.S.A, Mrs. F. E. Skillington * Officers Hon. Secretaries: James Crompton, Esq., M.A., B.LITT., F.R.HIST.S., F.S.A, (Minutes) Miss Mollie P. Rippin, B.A. (General) Miss Winifred A. G. Herrington (Excursions) Hon. Treasurer : C. L. Wykes, Esq., F.C.A. (resigned 30 April 1968) Hon. Auditor: Lieut.-Col. G. L. Aspell, T.D., D.L., F.C.A. Hon. Editor: James Crompton, Esq., M.A., B.LITT., F.R.HIST.S., F.S.A. Hon. Librarian: F. S. Cheney, Esq. * Trustees of the Leicestershire Archawlogical and Historical Society J. E. Brownlow, Esq. Colin D. B. Ellis, Esq., C.B.E., M.C., M.A., F.S.A, J. N. Pickard, Esq., J.P. J. R. Webster, Esq. c. L. Wykes, Esq., F.C.A. * Trustees of the Leicestershire Archceological Research Fund 0. -
Historic Costuming Presented by Jill Harrison
Historic Southern Indiana Interpretation Workshop, March 2-4, 1998 Historic Costuming Presented By Jill Harrison IMPRESSIONS Each of us makes an impression before ever saying a word. We size up visitors all the time, anticipating behavior from their age, clothing, and demeanor. What do they think of interpreters, disguised as we are in the threads of another time? While stressing the importance of historically accurate costuming (outfits) and accoutrements for first- person interpreters, there are many reasons compromises are made - perhaps a tight budget or lack of skilled construction personnel. Items such as shoes and eyeglasses are usually a sticking point when assembling a truly accurate outfit. It has been suggested that when visitors spot inaccurate details, interpreter credibility is downgraded and visitors launch into a frame of mind to find other inaccuracies. This may be true of visitors who are historical reenactors, buffs, or other interpreters. Most visitors, though, lack the heightened awareness to recognize the difference between authentic period detailing and the less-than-perfect substitutions. But everyone will notice a wristwatch, sunglasses, or tennis shoes. We have a responsibility to the public not to misrepresent the past; otherwise we are not preserving history but instead creating our own fiction and calling it the truth. Realistically, the appearance of the interpreter, our information base, our techniques, and our environment all affect the first-person experience. Historically accurate costuming perfection is laudable and reinforces academic credence. The minute details can be a springboard to important educational concepts; but the outfit is not the linchpin on which successful interpretation hangs. -
2000 Proceedings Cincinnati, OH
Cincinnati, OH USA 2000 Proceedings DOGWOOD IN GREEN AND GOLD Tammy Abbey Central Washington University, Ellensburg, WA 98926 The purpose in creating this piece is to design an elegant garment through the combination of two very different techniques, metalsmithing and sewing. This design was inspired by extensive study in both metalworking and sewing and by blooming dogwood. The garment can be described as a dark green, fully lined dress in a polyester crepe satin. It is designed with princess lines and a gold charmeuse godet in the back. The dress is strapless and supported by the metal "lace." The "lace" is formed with brass blossoms and leaves that wrap the shoulders and overlap the front and the back of the dress. Brass blossoms also accent the godet. Construction began with an original pattern which was hand drafted. A muslin test garment was sewn, fitted and used to adjust the pattern. The main body of the dress was sewn and an invisible zipper was installed. A godet was sewn into the back. A polyester lining was sewn and then added to the dress. After the body of the dress was completed, the metal work began. Blossoms and leaves were cut from sheet brass. Then each was individually chased (hand shaped with the use of hammers and tools.) The pieces were given a copper patina (coloring) and brass brushed to a matte golden color. A dress form was used to assemble a base web of brass chain onto which the blossoms were sewn into place with thread and wire. Two blossoms and chain were added in the back to accent the godet and to contain it.