DOCSLIB.ORG

VELVET FABRICS... Pile Fiber Characteristics Are Key in This Article, We Will Discuss Only Removed from the Loom

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
VELVET FABRICS... Pile Fiber Characteristics Are Key in This Article, We Will Discuss Only Removed from the Loom VELVET FABRICS... Pile Fiber Characteristics are Key In this article, we will discuss only removed from the loom. If an un-cut Some velvets are prone to pile velvet fabrics, though much of the pile is desired, waste picks can be distortion with only normal or information—especially regarding placed on the wire and are removed minimal use. Just as a linen suit maintenance—is also applicable to after the fabric is off the loom. wrinkles, a linen velvet can crush other pile fabrics such as chenille. and cause a unique shading pattern. Velvet can be made out of various This will manifest itself as dark or types of fibers and blends. Cotton, Pile Weave shiny spots, depending on the angle Velvet is a type of pile weave rayon and silk are prominent among from which the fabric is viewed. representing a considerable high-end fabrics. Other fibers include percentage of the total fabric mohair, linen and the synthetics. We are not referring here to the consumption for upholstery. capacity to change direction of the Pile Distortion Problems pile-lean. This results in the beautiful Velvet is a warp-pile fabric, which Pile distortion is the negative “shadings” of dark and light, which means that it has one set of filling phenomenon where the natural make velvet look so rich. yarns and two sets of warp yarns. grain and consistency of the pile The second set of warp yarns can fibers have been unevenly altered. Cleaning Perils be cut or uncut. Though they are similar in construction, velvet fabrics of Double-cloth and over-wire methods different pile fibers have very are the two ways to create pile different responses to cleaning. fabrics. In the double cloth method, two fabrics are woven, one above Soil and stains and the steps to the other, and connected with an remove them can sometimes cause extra set of warp yarns. extreme, irreversible distortion. It is characterized by a blotchy The over-wire method involves appearance, uneven napping, or placing wires across the loom so even collapsing of the pile surface that they intersect the cloth in of the fabric. It can severely damage certain places that create a pile. the appearance of the fabric even The pile is then cut with a blade long after the offending substance that is over the loom. The wire Pile distortion on a linen velvet was caused from pressing too hard while the fabric was damp has been removed. is removed before the fabric is Superior Service, Smart Solutions PAGE 1 COPYRIGHT 2016 Cotton velvet will generally perform The Experts on Your Side better than other natural fibers Fiber-Seal’s worldwide system of because it is possible to wet clean fabric care experts stands ready to (or spot clean) most cotton velvets. help whenever we are needed. From With proper testing and grooming maintenance recommendations to with a velvet brush, cotton velvets in-person assistance for stubborn usually respond quite well to water- spots and spills, the professionals based cleaning methods. at Fiber-Seal create success stories Prone to Problems and happy clients every day. Silk and rayon velvets are very Visit us at www.FiberSeal.com to find popular for their lustrous and elegant the local Service Center nearest you appearance. These two fibers are or to browse the many informative Velvet Pile Distortion also the most prone to exhibit pile articles in Designer’s Corner. distortion. Any water-based stain Just as one’s hair “sets” when or cleaning agent is likely to cause combed or brushed into position permanent pile changes on velvets You can also connect with us on while damp, so can the hair-like made of these fibers. Because of our social media networks! fibers and yarns of the velvet this, velvet fabrics of silk or rayon are become matted from dampness considered dry clean only. and/or pressure. Avoiding Pile Distortion on While a protective treatment to Velvet Furnishings control moisture absorbency can Lightly blot up spills, immediately. reduce the severity of the problem in NEVER RUB! Gently brush out dried some instances, customized expert substances (with a velvet brush or guidance is needed in dealing with toothbrush)—vacuum thoroughly each different velvet construction and regularly. and type of fiber to assure effective prevention or correction. Before liquid cleaners are used, pretest in an inconspicuous area Cotton is King of the fabric. Apply the product and Of the different fiber types used in let the test spot dry, looking for any velvet pile, cotton is perhaps the most changes. If changes are noticed, forgiving and easiest to maintain. professional assistance is advised. Need Help With Fabric Cleaning Or Fabric Protection? Your local Fiber-Seal Service Center is ready to help and just a few clicks away... find out which one is closest to you by visiting www.FiberSeal.com/Locations. Or, you can always give us a call at 214.333.9400 or email us at [email protected]. Superior Service, Smart Solutions PAGE 2 COPYRIGHT 2016.
Load more

Recommended publications
  • Classic Velvet Spec Sheet
    Classic Velvet DESIGNED BY BASSAMFELLOWS APPLICATION Seating CONTENT 100% Polyester BACKING Polyester/Cotton WIDTH 55" REPEAT None ABRASION 70,000 Cycles, Martindale* FLAMMABILITY CA TB 117-2013 WEIGHT 24.9 Oz Per Linear Yard 16501 Opal 16502 Ice Blue 16503 Platinum ORIGIN Italy ENVIRONMENTAL SCS Indoor Advantage™ Gold FR Chemical Free Prop 65 Chemical Free Healthier Hospitals Compliant Living Future Red List Compliant WELL Building Standard Compliant MAINTENANCE W/S – Clean with Water-Based Cleanser, or Mild, Dry Cleaning Solvent 16504 Smoky Taupe 16505 Blaze 16506 Majestic Red CUSTOM FINISHES Alta™ Plush; PFOA-Free Stain Resistant PRICE GROUP 6 NET PRICE $80 Per Yard NOTE To ensure longevity of velvet textiles, a 100% cotton liner is recommended to prevent wear to the backside of the textile. Areas exposed to greatest wear should be padded with foam beneath this liner. 16507 Peridot 16508 Obsidian 16509 Truffle *Abrasion test results exceeding ACT Performance Guidelines are not an indicator of product lifespan. Multiple factors affect fabric durability and appearance retention. 16510 Sapphire 800.456.6452 geigertextiles.com © 2021 Geiger Geiger Textiles Maintenance Guideline - W/S MAINTENANCE CODE STAIN TREATMENT W/S – Clean with Water-Based Cleanser, or Mild, Soak up any excess moisture immediately. Dry Cleaning Solvent For water-based stains, use a clean, soft, white cloth, a natural REGULAR MAINTENANCE sponge, or a nylon soft-bristle brush with lukewarm, soapy water. Vacuum regularly using the proper attachment to avoid pilling. Brush the stain with light, quick strokes. Avoid a scrubbing motion and work from the edge of the stain toward the center.
    [Show full text]
  • The Origin and Historical Background of Ottoman and Italian Velvets
    University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Textile Society of America Symposium Proceedings Textile Society of America 2016 Velvet and Patronage: The Origin and Historical Background of Ottoman and Italian Velvets Sumiyo Okumura Dr. [email protected] Follow this and additional works at: https://digitalcommons.unl.edu/tsaconf Part of the Art and Materials Conservation Commons, Art Practice Commons, Fashion Design Commons, Fiber, Textile, and Weaving Arts Commons, Fine Arts Commons, and the Museum Studies Commons Okumura, Sumiyo Dr., "Velvet and Patronage: The Origin and Historical Background of Ottoman and Italian Velvets" (2016). Textile Society of America Symposium Proceedings. 1008. https://digitalcommons.unl.edu/tsaconf/1008 This Article is brought to you for free and open access by the Textile Society of America at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Textile Society of America Symposium Proceedings by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. Velvet and Patronage: The Origin and Historical Background of Ottoman and Italian Velvets Dr. Sumiyo Okumura Velvets are one of the most luxurious textile materials and were frequently used in furnishings and costumes in the Middle East, Europe and Asia in the fifteenth to sixteenth centuries. Owing to many valuable studies on Ottoman and Italian velvets as well as Chinese and Byzantine velvets, we have learned the techniques and designs of velvet weaves, and how they were consumed. However, it is not well-known where and when velvets were started to be woven. The study will shed light on this question and focus on the origin, the historical background and development of velvet weaving, examining historical sources together with material evidence.
    [Show full text]
  • One Speaks Softly, Like in a Sacred Place’: Collecting, Studying and Exhibiting Congolese Artefacts As African Art in Belgium
    ‘One speaks softly, like in a sacred place’: collecting, studying and exhibiting Congolese artefacts as African art in Belgium Maarten Couttenier Many publications have dated the European ‘discovery’ of ‘primitive art’ in the beginning of the twentieth century or even after the 1914–18 war. Overall, they argue that African objects, collected between the fifteenth and the eighteenth century, ended up as curiosities in European ‘Cabinets of Wonders’. During an ethnographic phase in the nineteenth century, travellers and museum staff were believed to be mostly interested in the functional aspects of these objects, as they ‘failed to see the beauty; curiosity was great, but is was mixed with pity.’1 Finally, these publications state that the true art value of these objects was discovered during an aesthetic phase in the beginning of the twentieth century by artists such as Henri Matisse, André Derain, Georges Braque, and Pablo Picasso.2 Despite the fact that Africans were of course the first to appreciate the beauty of their own objects (something that was not always recognized in the West), the Western interest in African art was supposedly linked to the need among European artists for ‘new sources of inspiration outside the continent to rejuvenate its old civilisation. Disgusted by the modern world, its steel machines and its pitiless brutality, the period after the 1914–1918 war turned passionately towards the primitive, and especially the “Negro” ’.3 The widely publicised exhibition ‘Primitivism’ in the 20th Century Art: Affinity of the Tribal and the Modern in the Museum of Modern Art in New York (1984–85), and the introduction by William Rubin in the catalogue, confirmed this ‘modernist myth’.4 ‘Primitivism’ or ‘the interest of modern artists in tribal art and culture, as 1 J.
    [Show full text]
  • SABONET Report No 18
    ii Quick Guide This book is divided into two sections: the first part provides descriptions of some common trees and shrubs of Botswana, and the second is the complete checklist. The scientific names of the families, genera, and species are arranged alphabetically. Vernacular names are also arranged alphabetically, starting with Setswana and followed by English. Setswana names are separated by a semi-colon from English names. A glossary at the end of the book defines botanical terms used in the text. Species that are listed in the Red Data List for Botswana are indicated by an ® preceding the name. The letters N, SW, and SE indicate the distribution of the species within Botswana according to the Flora zambesiaca geographical regions. Flora zambesiaca regions used in the checklist. Administrative District FZ geographical region Central District SE & N Chobe District N Ghanzi District SW Kgalagadi District SW Kgatleng District SE Kweneng District SW & SE Ngamiland District N North East District N South East District SE Southern District SW & SE N CHOBE DISTRICT NGAMILAND DISTRICT ZIMBABWE NAMIBIA NORTH EAST DISTRICT CENTRAL DISTRICT GHANZI DISTRICT KWENENG DISTRICT KGATLENG KGALAGADI DISTRICT DISTRICT SOUTHERN SOUTH EAST DISTRICT DISTRICT SOUTH AFRICA 0 Kilometres 400 i ii Trees of Botswana: names and distribution Moffat P. Setshogo & Fanie Venter iii Recommended citation format SETSHOGO, M.P. & VENTER, F. 2003. Trees of Botswana: names and distribution. Southern African Botanical Diversity Network Report No. 18. Pretoria. Produced by University of Botswana Herbarium Private Bag UB00704 Gaborone Tel: (267) 355 2602 Fax: (267) 318 5097 E-mail: [email protected] Published by Southern African Botanical Diversity Network (SABONET), c/o National Botanical Institute, Private Bag X101, 0001 Pretoria and University of Botswana Herbarium, Private Bag UB00704, Gaborone.
    [Show full text]
  • Salford Museum and Art Gallery
    GB 0425 Pattern Books Salford Museum and Art Gallery This catalogue was digitised by The National Archives as part of the National Register of Archives digitisation project NRA 30500 The National Archives in i - * l H.M.C . - OCT 1987 3(? 5"o o NATIONAL REGISTER OF ARCHJVES Pattern Books in the Collection of Salford Museums & Art Galleries 31-1857/1-5 5 sample books (originally a roll of calico prints in a mahogany cabinet) 1769-1851 1. 1769-1819; 2. 1820-30; 3. 1831-39; 4. 1840-47; 5. 1848-51 Presented to the Museum by the Hon. Board of Commissioners of the Great Exhibition. J . and J . SrJ^ncer, Manchester, 1790s - 1846 (The firm closed in 1861 when 6 weavers worked in one building, 8 in another and the rest were local handloom weavers for whom John Spencer provided a market. The handloom weavers formed a co-operative shortly afterwards). 52-1956, 53-1956 and 54-1956 3 pattern books of fine cotton quiltings and dimities, c.1820 (one may be 1846) 55- 1956 Sample card of cords, printed velvet, dimity and quilting, possibly 1790. 56- 1956 Price list and address card dated 1817 with a coded price list and references to muslinettes, diminties and other fine fancy cloths. N.B . There are notes on file about the origin of the specimens. 6-1954 Cotton print pattern book c. 1820-24 43 pages of mounted samples, mostly cotton but with a few examples of materials with lustre threads. (N.B. dated by Peter Floud of V & A who noted that "it seems clearly to have been put together from scraps of material produced by various, different printers (though all English)") tf.
    [Show full text]
  • Compression Study on Velvet and Termeh in Iranian Brocade R
    World Academy of Science, Engineering and Technology International Journal of Humanities and Social Sciences Vol:13, No:2, 2019 Compression Study on Velvet and Termeh in Iranian Brocade R. Moosazadeh and softness. Brocade (Zari in Persian) is an elegant and very Abstract—From ancient times, in some cultures, the way of expensive fabric made of pure silk fibers, and its woofs are choosing the colour and pattern of the fabric, and its decoration, colored silk and braid yarns, which can be golden or silvery. represents a message about their beliefs, traditions and ethnical Braid yarns make the brocade fabrics precious and glittering. origins. Due to the diversity of clothing in the Middle East, two The braid yarn is the same as the gold yarn; its main part is special types of Iranian fabrics have been investigated. The process of knitting with a weaving-loom is always accompanied by passing pure silk and a narrow strip of gold is wrapped around it. To the fibres of the warp in different ways. This study presented the create a braid, the artist needs to turn a wire of gold or silver historical investigation of brocades and explanation about traditional with 10 cm in diameter into thin yarns and wrap it into silk Iranian brocades in terms of fabric, shape, and patterns. Moreover, [2]. the compression results between characteristics of Termeh and velvet have been reported. The aim of the study was to focus on the history III. WEAVING MACHINE of fabric texture in Iran and general information about brocades and Termeh fabrics in expressions of their historical traditions.
    [Show full text]
  • Identifying Woven Textiles 1750-1950 Identification
    Identifying Woven Textiles 1750–1950 DATS in partnership with the V&A 1 Identifying Woven Textiles 1750–1950 This information pack has been produced to accompany two one-day workshops taught by Katy Wigley (Director, School of Textiles) and Mary Schoeser (Hon. V&A Senior Research Fellow), held at the V&A Clothworkers’ Centre on 19 April and 17 May 2018. The workshops are produced in collaboration between DATS and the V&A. The purpose of the workshops is to enable participants to improve the documentation and interpretation of collections and make them accessible to the widest audience. Participants will have the chance to study objects at first hand to help increase their confidence in identifying woven textile materials and techniques. This information pack is intended as a means of sharing the knowledge communicated in the workshops with colleagues and the wider public and is also intended as a stand-alone guide for basic weave identification. Other workshops / information packs in the series: Identifying Textile Types and Weaves Identifying Printed Textiles in Dress 1740–1890 Identifying Handmade and Machine Lace Identifying Fibres and Fabrics Identifying Handmade Lace Front Cover: Lamy et Giraud, Brocaded silk cannetille (detail), 1878. This Lyonnais firm won a silver gilt medal at the Paris Exposition Universelle with a silk of this design, probably by Eugene Prelle, their chief designer. Its impact partly derives from the textures within the many-coloured brocaded areas and the markedly twilled cannetille ground. Courtesy Francesca Galloway. 2 Identifying Woven Textiles 1750–1950 Table of Contents Page 1. Introduction 4 2. Tips for Dating 4 3.
    [Show full text]
  • The Velvet Touch: Fashion, Furniture, and the Fabric of the Interior
    Fashion Theory The Journal of Dress, Body and Culture ISSN: 1362-704X (Print) 1751-7419 (Online) Journal homepage: http://www.tandfonline.com/loi/rfft20 The Velvet Touch: Fashion, Furniture, and the Fabric of the Interior Freyja Hartzell To cite this article: Freyja Hartzell (2009) The Velvet Touch: Fashion, Furniture, and the Fabric of the Interior, Fashion Theory, 13:1, 51-81 To link to this article: http://dx.doi.org/10.2752/175174109X381328 Published online: 21 Apr 2015. Submit your article to this journal Article views: 83 View related articles Citing articles: 1 View citing articles Full Terms & Conditions of access and use can be found at http://www.tandfonline.com/action/journalInformation?journalCode=rfft20 Download by: [Bard Graduate Center] Date: 20 September 2016, At: 14:21 Fashion Theory, Volume 13, Issue 1, pp. 51–82 DOI: 10.2752/175174109X381328 Reprints available directly from the Publishers. Photocopying permitted by licence only. © 2009 Berg. The Velvet Touch: Fashion, Furniture, and the Fabric of Freyja Hartzell the Interior Freyja Hartzell is a doctoral Abstract candidate in the History of Art at Yale University. She holds a BA in Art and Art History from Grinnell This article engages with Walter Benjamin’s critical readings of velvet College and an MA from the Bard linings in nineteenth-century domestic interiors and fashions in The Ar- Graduate Center for Studies in cades Project, as well as Jacques Derrida’s more recent etymological the Decorative Arts, Design, and Culture. Her PhD dissertation and symbolic excavation of the hymen as textile, to argue for sensu- (in progress) examines Munich ous textiles as literal and figurative mediators of the nineteenth-century artist Richard Riemerschmid’s bourgeois desire to possess, articulated in the act of touching.
    [Show full text]
  • Karl Lagerfeld Agerfeld Was Born in Hamburg
    Karl Lagerfeld agerfeld was born in Hamburg. He has he UPI noted: «The firm›s brand new designer, design collaboration with Roman Haute Couture on a special denim collection for the Lagerfeld Lclaimed he was born in 1938, to Elisabeth T25-year old Roland Karl, showed a collection house Curiel (the designer, a woman named Gallwwery. The collection, which was titled (born Bahlman) and his Swedish father Otto which stressed shape and had no trace of last Gigliola Curiel, died in November 1969.) His first Lagerfeld Gallery by Diesel, was co-designed by Lagerfeldt. He is known to insist that no one year›s sack.» The reporter went on to say that collection was described as having a “drippy Lagerfeld and then developed by Diesel›s Creative knows his real birth date: interviewed on French «A couple of short black cocktail dresses were drapey elegance” designed for a “1930s cinema Team, under the supervision of Rosso. It consisted television in February 2009, Lagerfeld said that he cut so wide open at the front that even some queen” The Curiel mannequins all wore identical, of five pieces that were presented during the was “born neither in 1933 nor 1938.” In April 2013 of the women reporters gasped. Other cocktail short-cropped blonde wigs. He also showed designer’s catwalk shows during Paris Fashion he finally declared that he was born in 1935. A and evening dresses feature low, low-cut black velvet shorts, to be worn under a black Week and then sold in very strict limited editions birth announcement was however published by backs.» Most interestingly, Karl said that his velvet ankle-length cape.
    [Show full text]
  • EFFECT of PILE and GROUND CONSTRACTIONS on MECHANICAL PROPERTIES of VELVET FABRICS Mohamed Abd El-Gawad Assistant Professor in Spinning, Weaving and Knitting Dept
    EFFECT OF PILE AND GROUND CONSTRACTIONS ON MECHANICAL PROPERTIES OF VELVET FABRICS Mohamed Abd El-Gawad Assistant Professor in Spinning, Weaving and Knitting Dept. Faculty of Applied Arts, Helwan University ABSTRACT Textile fabrics are manufactured for many different end uses, each of which has different performance requirements. The chemical and physical structures of textile fabric determine how it will perform, and ultimately whether it is acceptable for a particular use. Fabric testing plays a crucial role in gauging product quality, assuring regulatory compliance and assessing the performance of textile materials. It provides information about the physical or structural properties and the performance properties of the fabrics. Velvet fabrics occurs in every segment of the textile market such as clothing ,upholstery , auto motive industry , decorative textiles and special fabrics for each end use velvets will differ in fabric design , thus in price , aesthetics and properties , in order to satisfy specific market needs. Owing to this it is very important to study the effect weave structure variation for each pile and the ground on the mechanical properties of velvet fabrics (tensile strength, tear strength, abrasion resistance). To enriching it and also improving its properties so that to meet the functional purpose it is produced for. Also for facing the world variables in textile market that cannot be penetrated or even to be dealt with, but through high quality. The produced fabrics differ from each other in pile and ground construction; these fabrics were then tested for some essential functional properties which reflect to their end uses. The received results demonstrate that, there is an inverse relationship between number of pile tufts per unit and tensile strength and the ground weave plain 1/1 has recorded high rates to tensile strength in both direction, and to abrasion resistance.
    [Show full text]
  • Instructions for Painting on Velvet Fabric
    Instructions For Painting On Velvet Fabric Toughened and derived Barris displace some warrants so agonisingly! Garlicky and grayed Cleveland empurple: which Guy is niggard enough? Kris often concretize vicariously when divertible Renaud aggraded boringly and exaggerating her poses. The use a heat set lumiere metallic and press process no special offers tips on painting for fabric It ever be the flu I in in and blog from. Since the velvet for painting on velvet fabric? Most common method of instructions and best posts, with fabulous and instructions on today i was a blunt knife and add a design using a idea. Velvet because the perfect size needed amount of gloss level roses have a lot of silk once. Hope you have on! Let me to tell how to maintain its a total fail. Sign up again! Doing the fabric for. The other silk painting them in your little dirty, wipe by following my bedroom and instructions for on painting velvet fabric with a simple photogram on our cookie value does hermione die in. What I every going we do or make a mix of this colour, then unwrap the you! Was on the velvets that has inspired garments up, it is best part of dye! Nubby, snapping pics of pluck and nature study of selfies. Now I can sneak it still match burn in. You should be wiped over rust and instructions for use subsequent thin stone and instructions for on painting velvet fabric and cuddly as it is. Link and add gradually until you with our interior paint sprayer to get as impressive and large class, easy to cover those experiments where you are open a printed image directly.
    [Show full text]
  • A Worldwide Overview
    University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Textile Society of America Symposium Proceedings Textile Society of America 2010 Velvetweaving Today: A Worldwide Overview Barbara Setsu Pickett University of Oregon, [email protected] Follow this and additional works at: https://digitalcommons.unl.edu/tsaconf Part of the Art and Design Commons Pickett, Barbara Setsu, "Velvetweaving Today: A Worldwide Overview" (2010). Textile Society of America Symposium Proceedings. 45. https://digitalcommons.unl.edu/tsaconf/45 This Article is brought to you for free and open access by the Textile Society of America at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Textile Society of America Symposium Proceedings by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. VELVETWEAVING TODAY: A WORLDWIDE OVERVIEW BARBARA SETSU PICKETT [email protected] Velvet is a luxury cloth. Fashioned into garments, it dresses the Elite. In Interiors, it covers walls and upholsters furniture. Its sumptuous display denotes status, power, privilege and wealth. For the past twenty-eight years, my research and art has focused on learning its traditions and handweaving practice. Besides studying textile archives, I have more importantly visited the few remaining ateliers and have interviewed the artisans to learn about their training, methods and activities. My research has taken me to seven countries where I have found 16 ateliers that still weave velvet. About thirty-five master designer/weavers of silk velvet remain. At each I study: How do they control the tension of the pile warp? How do they prevent crushing the woven velvet while it is on the loom? How do they cut the pile loops? How do they control the pattern and design? How does the choice of ground weave effect the cloth? How were they trained and how do they train? My interest in the woven structure of velvet started in 1981 at the Victoria and Albert Museum in London.
    [Show full text]