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Spinning Alpaca: Fiber from Huacaya Alpaca to Suri Alpaca (And Beyond)
presents A Guide to Spinning Alpaca: Fiber from Huacaya Alpaca to Suri Alpaca (and beyond) ©F+W Media, Inc. ■ All rights reserved ■ F+W Media grants permission for any or all pages in this issue to be copied for personal use Spin.Off ■ spinningdaily.com ■ 1 oft, long, and available in a range of beautiful natural colors, alpaca can be a joy to spin. That is, if you know what makes it different from the sheep’s wool most spinners start with. It is Sa long fiber with no crimp, so it doesn’t stretch and bounce the way wool does. Sheep’s wool also contains a lot of lanolin (grease) and most spinners like to scour the wool to remove excess lanolin before they spin it. Alpaca doesn’t have the same grease content, so it can be spun raw (or unwashed) pretty easily, though it may contain a lot of dust or vegetable matter. Alpaca fiber also takes dye beautifully—you’ll find that the colors will be a little more muted than they would be on most sheep’s wool because the fiber is not lustrous. Because alpaca fiber doesn’t have crimp of wool, the yarn requires more twist to stay together as well as hold its shape over time. If you spin a softly spun, thick yarn, and then knit a heavy sweater, the garment is likely to grow over time as the fiber stretches. I hadn’t much experience spinning alpaca until I started volunteering at a school with a spinning program and two alpacas on the working farm that is part of the campus. -
India's Textile and Apparel Industry
Staff Research Study 27 Office of Industries U.S. International Trade Commission India’s Textile and Apparel Industry: Growth Potential and Trade and Investment Opportunities March 2001 Publication 3401 The views expressed in this staff study are those of the Office of Industries, U.S. International Trade Commission. They are not necessarily the views of the U.S. International Trade Commission as a whole or any individual commissioner. U.S. International Trade Commission Vern Simpson Director, Office of Industries This report was principally prepared by Sundar A. Shetty Textiles and Apparel Branch Energy, Chemicals, and Textiles Division Address all communications to Secretary to the Commission United States International Trade Commission Washington, DC 20436 TABLE OF CONTENTS Page Executive Summary . v Chapter 1. Introduction . 1-1 Purpose of study . 1-1 Data and scope . 1-1 Organization of study . 1-2 Overview of India’s economy . 1-2 Chapter 2. Structure of the textile and apparel industry . 2-1 Fiber production . 2-1 Textile sector . 2-1 Yarn production . 2-4 Fabric production . 2-4 Dyeing and finishing . 2-5 Apparel sector . 2-5 Structural problems . 2-5 Textile machinery . 2-7 Chapter 3. Government trade and nontrade policies . 3-1 Trade policies . 3-1 Tariff barriers . 3-1 Nontariff barriers . 3-3 Import licensing . 3-3 Customs procedures . 3-5 Marking, labeling, and packaging requirements . 3-5 Export-Import policy . 3-5 Duty entitlement passbook scheme . 3-5 Export promotion capital goods scheme . 3-5 Pre- and post-shipment financing . 3-6 Export processing and special economic zones . 3-6 Nontrade policies . -
The Re-Imagining of Bradford's Collection As a Transcultural
conference papers academic and professional strands / negotiating artefacts cultural identity and the municipal gallery: the re-imagining of bradford’s collection as a transcultural representation of identity at cartwright hall 1904-2014 AUTHORS: Jemma Browne Nottingham Trent University (UK) Ana Souto Nottingham Trent University (UK) Abstract Museums have historically played an important role in the formation of cultural identities; they evolved in their current form in the late nineteenth century concurrent with the emergence of the bourgeois public sphere (Bennett, 1995). As cities have been spatially transformed through time by the layering of new and existing expressions of cultural identity, galleries and museums have struggled to retain their meaning as representational spaces. The municipal gallery at Cartwright Hall in Bradford presents a timely case study demonstrating how it ensured that its collection evolved to reflect the changing communities in the city and how, by re-imagining the idea of heritage, it has created a transcultural representation of identity. Keywords: cultural identity, collective memory, empire, transcultural space 51 conference papers academic and professional strands / negotiating artefacts cultural identity and the municipal gallery: the re-imagining of bradford’s collection as a transcultural representation of identity at cartwright hall 1904-2014 1. Identity formation: museums and the public sphere Museums and galleries are important cultural spaces within our cityscapes; they present unique opportunities to shape and represent multiple cultural identities, disseminating ideas and memory through both their exhibitions and the architectural form they take. This paper uses the example of Cartwright Hall to explore how museums have used multi-temporal strategies to communicate collective memory and represent cultural identities through time. -
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. -
SO an Introduction to Spinning 2018
An Introduction to Spinning BASIC IDEAS, TOOLS, AND TERMS Starting with Wool Sheep’s wool is the most popular fiber CRIMP lots among handspinners because it is easy to spin and versatile. There are dozens of breeds of sheep, such as Lincoln, Romney, Corriedale, Suffolk, and Merino, and each breed produces a unique type less of wool. By choosing from suitable breeds, spinners can use wool to make warm, comfortable, and stylish sweaters, scarves, mittens, hats, socks, afghans, rugs, and many other kinds of garments and accessories. One advantage to making your own yarn is that you can choose the qualities in the fiber that you want to emphasize in your finished project. Yes, the results are definitely worth it! the crimp or waviness of the wool, and the count or A single fleece—one sheep’s annual growth of thickness of the wool fibers (larger numbers indicate wool—usually weighs between 4 and 12 pounds. A finer wool—80s is quite fine, and 40s is coarse). Coarse good spinning fleece costs around $4 to $12 per pound. wool tends to have fewer crimps per inch, and may be Shepherds who produce good wool pay extra attention scratchy or itchy—but it will be very durable. Fine wool to their animals throughout the year. Some put jackets most often has a lot of crimps per inch, and feels soft or blankets on their sheep to keep hay out of the wool; and comfortable next to your skin, but it does not wear those fleeces may be especially clean, although cover- well in a rug. -
1 Classes Run 9-12 and 2-5 Each Day. Retreat Day 1 Tuesday, March 27
Classes run 9-12 and 2-5 each day. Retreat Day 1 Retreat Day 2 Retreat Day 3 Retreat Day 4 Retreat Day 5 Tuesday, March 27, 2018 Wednesday, March 28, 2018 Thursday, March 29, 2018 Friday March 30, 2018 Saturday, March 31, 2018 Casey, English v Spinning Big Boucle the Spinning Big Maggie Start Spinning American & Lofty Yarns Easy Way & Lofty Yarns Longdraw Clemes & Explorations Clemes in Drumcarding Demers, Knitting Happily Knitting Happily Ergo Spin Ergo Spin Ergo Spin Carson Ever After Ever After Egbert, Taking the Taking the Silk Fusion: Fiber Prep Elevated Fiber Prep Elevated Mystery Out Mystery Out Mary Making Paper of the Box of the Box Emerson, Locks in the Locks in the Bernadette Lens, Fiber Lens, Fiber in Focus in Focus Franquemont, Teaching Spindle Intro to Intermediate Backstrap Weaving Abby Spinning Plying Backstrap Weaving Gaustad, The Best from Focus on the The Best from Plying by Design Stephenie Your Wheel Drafting Zone Your Wheel Mackenzie, Extraordinary Extraordinary Judith Perfect Cloth: Spinning Bountiful Beasts: Cloth: Spinning Perfect Unusual The Gentle Art of Plying Unusual Pairings Spinning the Wild Pairings Threads for Threads for Weaving Weaving Moreno, Pretty Maids Living Color Spin & Nosh Yarnitecture 2 Spin & Nosh Jillian All in a Row Mullarkey, Pocket Pocket Woven Shoe Laces John Weaving Weaving Robson, Basic Things Every Spinner Deb The Classic Down Wools Wool Facts for Wool Geeks The Classic Down Wools Should Know About Wool Rodgers, Spinning Twisted Together Wild Plying Wild Plying Esther Loops Ruane, Love -
Majacraft Camp
MAJACRAFT CAMP February 2017 We would love to welcome you to our next Majacraft Magic Camp! Featuring Laurie Boyer (USA) !1 Laurie Boyer: The three yarn classes will be workshop choices– the application will be a whole group session on Sunday afternoon. Slub Fun Learn how to spin a comfortable and regular slub yarn. Then use this slub yarn to create the popular bobble yarn and Laurie’s unique teardrop and icicle yarns. Warning! Create these yarns only if you want your knitting to be the center of attention. Basic spinning skills required. Please bring the following equipment and materials to class: -Spinning wheel with the largest orifice (Woolly winders create too much tension and flyer hooks will catch the large texture so both should be avoided.) Double treadles will make starting and stopping easier. -2 empty bobbins -Lazy kate -Niddy noddy -6 oz. of nice wool (merino combed top or roving works well) prepared and ready for spinning. -At least 1-2 oz. of plying thread on a cone (8/2 cotton works well or anything that is fingering or sport weight that has a good drape). Ultra Spongy Singles from the “Oh My God, Squeeze This” series Learn how to construct Laurie’s newest yarn creation. It has three layers, is an extra-bulky (2 sts = 1”), lightweight and well-balanced yarn that is a pleasure to spin and feels luxurious sliding through your hands as you knit your favorite project. It also doesn’t seem to have a singles slant when knit on #10 or so needles. -
2010/11 Annual Report
AUSTRALIAN WOOL INNOVATION LIMITED ANNUAL REPORT 2010/11 2 UP FRONT ABOUT AWI WHAT AWI DOES Established in 2001, AWI is a not-for-profit company owned by over 28,000 wool levy payers who have registered as AWI shareholders. AWI’S MISSION The company invests along the global supply chain for Australian wool – from woolgrowers through to retailers. AWI’s mission is to invest in research, development, marketing AWI’s vision is for it to be a significant contributor to a vibrant, and promotion in order to: stable and profitable wool industry providing the world with the best natural fibre. enhance the profitability, international competitiveness AWI’s goal is to help increase stable and sustained demand for and sustainability of the wool through investments in marketing, innovations and R&D – Australian wool industry; and from farm to fashion. increase demand and market HOW AWI IS FUNDED access for Australian wool. AWI investments are funded through a wool levy paid by woolgrowers (currently two per cent of the sale price received for their shorn greasy wool) and a matching contribution from the CONTENTS Australian Government for eligible R&D activities, capped at 0.5 per cent of the value of gross national value of wool production. UP FRONT The sale of Woolmark licences contributes a further source of 2 About AWI income for AWI, directly funding AWI’s global business development network. 4 Highlights of 2010/11 5 Financial summary Woolgrowers vote every three years on the percentage of wool 6 AWI Board of Directors proceeds they would like to invest in wool innovation, marketing, sales, off-farm R&D and on-farm R&D. -
Beyond the Bale Is Available Free
ISSUE 69 DECEMBER 2016 PROFIT FROM WOOL INNOVATION www.wool.com WINNING MERINO WOOL COLLECTION LAUNCHED IN AUSTRALIA BY TEATUM JONES 04 28 48 INTERNATIONAL LIFETIME EWE MERINO LIFETIME CAMPAIGN FOR WOOL MANAGEMENT PRODUCTIVITY PROJECT 08 WINNING DESIGNERS 28 LIFETIME EWE EDITOR VISIT AUSTRALIA MANAGEMENT SUCCESS Richard Smith E [email protected] CONTRIBUTING WRITER OFF ON Lisa Griplas -FARM -FARM E [email protected] 4 Campaign for Wool in UK 27 The Yarn podcast for woolgrowers Australian Wool Innovation Limited A L6, 68 Harrington St, The Rocks, 6 Campaign for Wool in Japan 27 AWI digital resources for woolgrowers Sydney NSW 2000 GPO Box 4177, Sydney NSW 2001 7 Campaign for Wool in Germany 28 Lifetime Ewe Management case study P 02 8295 3100 E [email protected] W wool.com AWI Helpline 1800 070 099 8 IWP winner Teatum Jones in Australia 30 Get motivated and make change SUBSCRIPTION 9 IWP winner SUKETDHIR in Australia 31 Sheep handling success Beyond the Bale is available free. To subscribe contact AWI 10 Dion Lee’s suit collection for women 32 Wild dog case study: Wongwibinda P 02 8295 3100 E [email protected] 11 Jason Wu’s spring collection 34 Aerial baiting in South Australia Beyond the Bale is published by Australian Wool Innovation Ltd (AWI), a company IWP collection exhibited at Anlaby Rabbit biocontrol funded by Australian woolgrowers and the 11 35 Australian Government. AWI’s goal is to help increase the demand for wool by actively 12 Missoni’s advertising campaign 36 Young Farming Champion Max Edwards selling Merino wool and its attributes through investments in marketing, innovation and 12 Merino – the fibre for summer 38 Wool in Central Wheatbelt of WA R&D – from farm to fashion and interiors. -
Spinning Daily Presents Alternative Fibers: the Spinner's Guide To
presents Alternative Fibers: The Spinner’s Guide to Vegan, Natural, and Wool-Free Yarns ©F+W Media, Inc. ■ All rights reserved ■ F+W Media grants permission for any or all pages in this issue to be copied for personal use Spin.Off ■ spinningdaily.com ■ 1 pinners have worked with wool for thousands of years, and with good reason: it dyes easily, wears well, and Scomes from cute sheep. But it’s not the only option available nowadays. We can spin fiber produced from other animals, from plants, or from manufacturing processes. Bam- boo, soy, and corn can all be made into yarn. So can wood pulp and seaweed: if you’ve never heard of Seacell, Modal, or Lyocell, read on. Do all of these spinnable fibers qualify as natural? Are they vegan (i.e., animal-friendly) or at least animal- neutral? How sustainable are the different production methods? It depends on your personal definitions and choices. Some people might see rayon, extruded from wood pulp, as too far removed from Nature, while others might prefer rayon to water-intensive hemp retting. You’ll read about protein and cellulose fibers in the first article, then find others on plant-based fibers, either directly from the plant or processed in some way. If you want to spin something other than wool, you can find the perfect substitute here. Happy spinning, Anne Merrow [email protected] ©F+W Media, Inc. ■ All rights reserved ■ F+W Media grants permission for any or all pages in this issue to be copied for personal use Spin.Off ■ spinningdaily.com ■ 2 What are natural fi bers? BY A MY C LARKE M OORE atural fi bers occur naturally in na- not usually included in the natural fi ber catego- a Nture, naturally. -
Spinning Soft Yarn Rhythmically Spinning and Plying Low Twist Yarns
Spinning Soft Yarn Rhythmically spinning and plying low twist yarns By Mary Spanos Mary uses a short forward draw spinning technique, similar to worsted spinning, to create these fluffy wool yarns for soft and lightweight garments. Several years ago I thought I’d finally learned to spin at SOAR in Vermont in 1997. I’ve used Jaquie’s technique to the perfect knitting yarn. That three-ply yarn was lovely and change from a long backward draw to a short forward draw, the skeins were beautiful. The yarn was a consistent, perfectly which is described below. smooth, high-twist 3-ply. Unfortunately, the sweater I made with Changing my spinning technique was not easy. After years that yarn didn’t turn out as I had hoped. The knitted fabric felt of spinning wool one way, those hand motions had become like stiff and dense, and the sweater weighed more than it should (it so many other small habits that don’t require attention or thought. was uncomfortably heavy and too warm). Too much twist in my It was difficult to change those motions, even when the new singles and in the plying resulted in a yarn that looked good but technique seemed so simple. But it was worth the frustration. was actually dense and firm instead of soft and fluffy as I had Not only does this technique help me produce the kind of yarns I envisioned my sweater. enjoy knitting and weaving, but it also offers a more comfortable At that time, I was spinning wool with a long draw tech- sitting position and hand positions so I can spin for longer periods nique, which if broken into steps could be described as: 1) the of time. -
COMING BACK? Capability and Precarity in UK Textiles and Apparel
COMING BACK? Capability and Precarity in UK Textiles and Apparel Julie Froud, Steven Hayes, Hua Wei and Karel Williams Alliance Manchester Business School & School of Materials, University of Manchester March 2017 COMING BACK? Capability & Precarity in UK Textiles & Apparel COMING BACK? Capability and Precarity in UK Textiles and Apparel A report funded by the British Cotton Growers’ Association Work People’s Collection Fund University of Manchester | Alliance Manchester Business School and School of Materials 1 COMING BACK? Capability & Precarity in UK Textiles & Apparel Contents Executive Summary………………………………………………………………………………………………………………7 Chapter 1 The UK textile and apparel industry: background and current context ................. 10 1.1 Introduction............................................................................................................................ 10 1.2 Like British manufacturing (only worse) ................................................................................ 12 1.3 Understanding heterogeneity and theorising sustainability ................................................. 20 Chapter 2 Different national stories: German reinvention and Italian resistance ................. 28 2.1 Introduction............................................................................................................................ 28 2.2 British textiles & apparel (worse than German or Italian textiles & apparel) ....................... 29 2.3 German reinvention: adding technik ....................................................................................