DOCSLIB.ORG

Modern Trends

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Modern Trends Modern Trends COPYRIGHT2020©MSA. ALL RIGHTS RESERVED 001 001 Index Topic Page Interview with Dr Tarek Saleh............................................4 Graphic’s Article ................................................................7 ” Postmodernism in Graphic Art Photorealism as a sample” By L.A. Basma Barakat Interior’s Article ................................................................14 “Designing for happiness and meanigful work experence” By Assoc. prof. Rasha Elzeiny Fachion’s Article ................................................................7 “Al-tally” ascension journey from an Egyptian folk art to international fashion trend By Assoc. Prof. Noha Fawzy Cinema & Theatre’s Article ..............................................14 Cinema for Humanity By Dr. Samah Nassar DEAN’S EXCLUSIVE INTERVIEW 2 MODERN TRENDS FIRST EDITION © MODERN TRENDS FIRST EDITION © 3 001 001 How do you believe you’ve reached this I have gained indispensable skills of practical vision, position in this career path? great management skills and problem-solving. I was lucky to have had an exemplary childhood that “The most critical priority in Egypt right now is has exposed me to the world of art. Since a young age, empowering the youth and providing them with the I have seen various foreign films and attended a variety necessary education and resources. In Egypt, we have a of cultural experiences. I believe that I have gained all of multitude of talents and skills with an advanced sense experiences in a gradual fashion, it has been the union of of art in diverse fields of arts. The focus to harness reading, acquiring theoretical knowledge, and practical those skills and utilize them only requires the appropri- experience that has allowed me to be in the place I am ate management today and transfer this set of knowledge and expertise to plans” the upcoming generations. How do you view Private Education Was the path of Art and Design always in Egypt in the latest years? your dream? The private education in Egypt started to witness a great To me, the faculty of design was my absolute first deal of respect and esteem in recent years. Its superior preference when registering in university, despite standing comes from the private education’s striving to al- being in a position where I could’ve been admitted ways incorporate technological advancements and resourc- to so-called “top” faculties. This passion for design es into the education system such as E-learning (learning goes back to when I was just 8 years old; I was in the Unit- and keeping up with evaluations and lectures through the ed States section of a textiles exhibition and was startled by internet) mixed with effective hands-on lecturing styles. the textile machines, from which I also received a sample Another aspect that places the private universities at a high of the textile rolls used in the machine from one of the rep- standing is the establishment of validation networks with resentatives, which had ignited my passion for this path foreign universities that allows students to receive a dual ever since then. degree (Egyptian and British), expanding their horizons and providing themwith the chance to choose the market “Textiles is a very complex study because it requires a in which they wish to work. large set of skills that complement each other, driven The Interview been created and conducted by the very principles of design and How do we adequately prepare students for creativity” By: Dr. Samah Nasser the job market? Why have you always been keen to pursue This is such a critical topic. This is done, first of all, practical work despite the existing load of through evaluating the job market and making predictions academic demands of your role? about the future trends and patterns expected to take place within it. This is done in addition to establishing networks and relationships with the stakeholders in the fields at “From my very beginnings, des- To put it very simply, in a faculty like ours, the transfer of which the students work. It is advisable that faculties al- knowledge is quite difficult if not done throughpractical tiny had it so that my hobby, my ways receive feedback from their graduates about the job work. Therefore, I started very early (1985) being exposed market and their experience within it and make the neces- to the practical aspect and the subsequent exporting to love for art and my university ed- sary modifications and additions to maximize the gradu- the United States from 1990-2004. I have also followed up ate’s adaptation within their respective markets. This allows ucation in applied arts, specifical- with quality control of the highest standards. And when the preparation of a proper formula that will allow fresh I became satisfied with my practical skills, I decided to graduates to immediately join the job market without the ly in textile design, all aligned come back into academic life to transfer all those skills and need of preparatory phases beyond graduation, which is expertise to future generations. During this time period of achievable through establishing interactions with the in- together” practical work. dustrial sector. 4 MODERN TRENDS FIRST EDITION © MODERN TRENDS FIRST EDITION © 5 001 Where do we look for the skills and What is the significant achievement ac- how do we cultivate it? complished here at MSA University that you hold very dear to you? And why? In order to cultivate a skill, a roadmap must be drafted in order to define the goals of the Definitely, the first thing that comes to my mind individual and to encourage the individual to is t he HARVEST Annual Exhibition and I am utilize this skill in national and international sure that most of the staff and assistants’ staff competitions. Those opportunities would would share the same feeling of pride regarding provide students with the motivation and its establishment with me. As we are so proud confidence to continue their path. of our students’ achievements, What do you aim to achieve through the continuous updates & modifications you always seek to implement? I established this faculty & built it from scratch. Therefore, I put into consideration few recommendations actions, provides the opportunity to improve the program and solve any issues that we may face during the implementation. I also believe that the new programs will be more structured and matched with the international standards. I already finalized our validation for five years and now we have to start renewing procedures. Additional skills have been added through which the students can expand their skills. The main issue is always time. Therefore, I have arranged to establish internship courses. The first one will provide two necessary skills especially regarding the software they supposed to deal with in the market. The second internship will provide themselves we get to show the recent graduation projects with adequate preparation for their graduation which conclude all the skills they gain project. The internship will not only be reflected throughout their learning path which reflect positively on the student’s career- related skills all the efforts that been done from the staff’s but, also on their personality as their aims will side to reflect awareness and highlight their become clearer and more structured as they strengths points and how they can now be a know more about their profession and industry. part of a productive community. This is a part of our continuous efforts to match their skills with the development plan for Egypt 2030. 6 MODERN TRENDS FIRST EDITION © MODERN TRENDS FIRST EDITION © 001 001 Postmodernism in arts; Overview “Vattimo” sets that if we accept this definition of movement - Which belong to modernity schools- that By L.A. Basma Barakat modernity, and try to explain the term postmo dominated the plastic movement in America since the The term modernism refers to an era when series ernism beginning of the twentieth century. There are direct of economic, political and social transformations in its context, we will find ourselves in a paradox, aid factors, which are realism, photography, and pop occurred in Western society; to some people as the syllable (Post) means (Exceed), But art, as well as the countermeasures represented in the historical term refers to the era that follows (Postmodernism), when seeking to exceed abstraction. the Middle Ages and Feudalism in the West. (Modernity), appears The famous British historian “Arnold Toynbee” First: Realism adopted the term “Postmodernism” and to be opposed to the process of exceedance published it in the eighth and ninth volumes of his itself and It is obvious from the art movement`s name book (A study of history) in 1954. The term refers refers to this in the post - that it may means “Photorealism” that it contains within its pillars two to an era in the Westren history that begins in (exceedance of the exceedance). In fact, the main ones: realism and photography. Despite much 1875, which represents a dramatic change from usage of (Post modernism) term in its literal controversy over the definition of term “Realism” in the earlier modernist era. It is an era of wars, sense to denote (Modernity) ultimately implies One of the most important art movements in the art history, there is no disagreement over the final postmodernism era, which applies on it the above- social unrest and revolutions. “Toynbee” named the consolidation of the concept of modernity, required result form realistic portraying. Simply, mentioned artistic features, is the “Photorealism” realism needs to portray a realistic scene, as the it the era of chaos and comprehensive relativity, which the new term seeks to deny. This means movement, which we will take as a sample in graphic artwork must be based on the known academic comparing it to the era of bourgeois modernity that the term (Postmodernism) (as exceedance characterized by social stability, rationality and art.
Load more

Recommended publications
  • Silk, Linen, Leather, Denim, Grass, Cotton, Felt
    Silk, linen, leather, denim, grass, cotton, felt. Natural materials keep the integrity of their shape yet hold an impression of the figure that has worn them. Fit-out for Olivia Spencer Bower speaks to the fabrics and forms that we live in. An assortment of garment patterns, building plans and the lifestyles of art heroines provide templates or underlying structures for Emma Fitts’ installation at the Ilam School of Fine Arts gallery. Adopting the layout of a modernist home and featuring a series of fabric hangings and clothing cutouts, Fitts’ work acutely relates to our situated knowledge, the proportions of the body and our experience of space, while also implying much less measurable qualities. Alternative histories that reveal the social relationships and values of a bygone era are incorporated to form a homage of sorts, though these references are evoked to shed light on the present–what it means to live and make work as an artist today. The gallery is physically divided by four large textile works, hung from the ceiling according to the walls shown in architectural plans for 15A Leinster Avenue, Christchurch–the former home of artist Olivia Spencer Bower (1905- 82). These soft walls enable visitors to occupy the space as though wandering through her actual house: living room, kitchen, sunroom, bedroom and studio. Designed in 1969 by architects Cowey and McGregor in the Christchurch style of neo-brutalism, the house was commissioned to accommodate the needs of a female artist living alone. There is an emphasis on form developed in relation to function and it is both refined and compact, manifesting these ideals.
    [Show full text]
  • Clothing of Kansas Women, 1854-1870
    CLOTHING OF KANSAS WOMEN 1854 - 1870 by BARBARA M. FARGO B. A., Washburn University, 1956 A MASTER'S THESIS submitted in partial fulfillment of the requirements for the degree MASTER OF SCIENCE Department of Clothing, Textiles and Interior Design KANSAS STATE UNIVERSITY Manhattan, Kansas 1969 )ved by Major Professor ACKNOWLEDGMENTS The author wishes to express sincere appreciation to her adviser, Dr. Jessie A. Warden, for her assistance and guidance during the writing of this thesis. Grateful acknowledgment also is expressed to Dr. Dorothy Harrison and Mrs. Helen Brockman, members of the thesis committee. The author is indebted to the staff of the Kansas State Historical Society for their assistance. TABLE OP CONTENTS PAGE ACKNOWLEDGMENT ii INTRODUCTION AND PROCEDURE 1 REVIEW OF LITERATURE 3 CLOTHING OF KANSAS WOMEN 1854 - 1870 12 Wardrobe planning 17 Fabric used and produced in the pioneer homes 18 Style and fashion 21 Full petticoats 22 Bonnets 25 Innovations in acquisition of clothing 31 Laundry procedures 35 Overcoming obstacles to fashion 40 Fashions from 1856 44 Clothing for special occasions 59 Bridal clothes 66 SUMMARY AND CONCLUSIONS 72 REFERENCES 74 LIST OF PLATES PLATE PAGE 1. Bloomer dress 15 2. Pioneer woman and child's dress 24 3. Slat bonnet 30 4. Interior of a sod house 33 5. Children's clothing 37 6. A fashionable dress of 1858 42 7. Typical dress of the 1860's 47 8. Black silk dress 50 9. Cape and bonnet worn during the 1860's 53 10. Shawls 55 11. Interior of a home of the late 1860's 58 12.
    [Show full text]
  • Supplementary Written Submission from Community Land Scotland
    Local Government and Communities Committee Planning (Scotland) Bill Supplementary Written Submission from Community Land Scotland Dear Jane, I’m writing on behalf of Community Land Scotland to thank the Committee for the opportunity to participate in the Planning (Scotland) Bill evidence session at its meeting on February 28th and to provide further information in that regard. The Policy Memorandum for the Planning (Scotland) Bill articulates an ambition to shift planning from reacting to development proposals to proactively supporting investment and quality place-making. As discussed in our evidence session, that requires some vision as to the purpose of the planning system as a mechanism for contributing to the sustainable development of both urban and rural Scotland. Community Land Scotland views the Bill as an important legislative opportunity for Planning Policy to contribute to the renewal of rural Scotland in particular by incorporating our proposals regarding repopulation and resettlement of land. Specifically by: Placing a duty on Scottish Ministers to have regard to the desirability of the repopulation and resettlement of rural Scotland; Giving Ministers powers to designate land for the purposes of its resettlement; Giving Ministers and others (local authorities) powers to purchase land for the purpose of its resettlement; including compulsory purchase powers; Requiring Ministers to produce or cause to produce a map of ‘no longer existing communities’ to which they may have regard in preparing future policy; Requiring Ministers
    [Show full text]
  • “Al-Tally” Ascension Journey from an Egyptian Folk Art to International Fashion Trend
    مجمة العمارة والفنون العدد العاشر “Al-tally” ascension journey from an Egyptian folk art to international fashion trend Dr. Noha Fawzy Abdel Wahab Lecturer at fashion department -The Higher Institute of Applied Arts Introduction: Tally is a netting fabric embroidered with metal. The embroidery is done by threading wide needles with flat strips of metal about 1/8” wide. The metal may be nickel silver, copper or brass. The netting is made of cotton or linen. The fabric is also called tulle-bi-telli. The patterns formed by this metal embroidery include geometric figures as well as plants, birds, people and camels. Tally has been made in the Asyut region of Upper Egypt since the late 19th century, although the concept of metal embroidery dates to ancient Egypt, as well as other areas of the Middle East, Asia, India and Europe. A very sheer fabric is shown in Ancient Egyptian tomb paintings. The fabric was first imported to the U.S. for the 1893 Chicago. The geometric motifs were well suited to the Art Deco style of the time. Tally is generally black, white or ecru. It is found most often in the form of a shawl, but also seen in small squares, large pieces used as bed canopies and even traditional Egyptian dresses. Tally shawls were made into garments by purchasers, particularly during the 1920s. ملخص البحث: التمي ىو نوع من انواع االتطريز عمى اقمشة منسوجة ويتم ىذا النوع من التطريز عن طريق لضم ابر عريضة بخيوط معدنية مسطحة بسمك 1/8" تصنع ىذه الخيوط من النيكل او الفضة او النحاس.واﻻقمشة المستخدمة في صناعة التمي تكون مصنوعة اما من القطن او الكتان.
    [Show full text]
  • Sea-Silk Based Nanofibers and Their Diameter Prediction THERMAL SCIENCE: Year 2019, Vol
    Tian, D., et al.: Sea-Silk Based Nanofibers and Their Diameter Prediction THERMAL SCIENCE: Year 2019, Vol. 23, No. 4, pp. 2253-2256 2253 SEA-SILK BASED NANOFIBERS AND THEIR DIAMETER PREDICTION by * Dan TIAN, Chan-Juan ZHOU, and Ji-Huan HE National Engineering Laboratory for Modern Silk, College of Textile and Clothing Engineering, Soochow University, Suzhou, China Original scientific paper https://doi.org/10.2298/TSCI1904253T Diameter of sea-silk based nanofibers prepared by electrospinning is closely re- lated to the concentrations of sea-silk solution. A mathematical model is estab- lished according the mass conservation law in fluid mechanics to predict the di- ameter of fibers, and the MATLAB software is used to fit the experiment value. The results show that the fitted equation is quite accurate and efficient for estimating the diameter of fibers with different concentrations. Key words: electrospinning, sea-silk, mathematical model, nanofiber, fiber’s diameter. Introduction Electrospinning is an effective way to prepare nanofibers, it is a fabrication process that uses an electric field to control the deposition of polymer fibers onto a receptor [1-8]. In electrospinning process, the diameter of nanofiber is determined by many factors, like volt- age, viscosity of solution, receptor’s distance, environment temperature, environment humidi- ty, etc. [9, 10]. Nanofiber’s diameter and morphology can also be controlled by additives [11]. The sea silk is one of the oldest natural silks, which has a history of more than 5000 years [12-16], and now we can produce artificial sea silk through Mytilus edulis. To this end, we extract protein from Mytilus edulis and then use it as an additive for electrospinning, this maybe has some effects on the morphology of fibers.
    [Show full text]
  • January 2020
    SHERRILL FABRIC CATALOG January 2020 Fabric List Fabric Catalog January 2020 GENERAL INFORMATION (1) RAFT: It has been determined by the Joint Industry Fabric Standards Committee that various fabric treatment processes are detrimental to the performance of fabrics. Therefore, neither Sherrill Furniture Company nor the fabric mill can be responsible for any claims made involving fabrics that have Retail Applied Fabric Treatment. (2) The manufacturers of upholstered fabrics do not guarantee their products for wearability or colorfastness; whether "Teflon" treated or not; therefore, we cannot assume this responsibility. We also cannot guarantee match in color items ordered at separate times because of dye lot variations. (3) We do not in any way guarantee that Teflon finish will definitely improve cleaning quality of fabrics. (4) We buy the best quality covers available in each grade, consistent with the present day styles, and cannot guarantee fabric for cleanability, fastness of color, or wearing quality. (5) A number or letter opposite the colors in the different patterns indicate the color set in which you may locate the pattern. Example: P-PRINTS 4-BEIGE/WHITE 7-MELON/RED 2-GREEN 5-GOLD/YELLOW 8-BLUE/BLACK 3-TOAST/CAMEL 6-TURQUOISE Also, italicized numbers following the color set (example: Multi 7 - 17963) indicate the fabric's SKU number. (6) Special features of each (content, repeats, etc.) are listed directly under the pattern colors. (7) All current fabrics are 54 inches wide unless otherwise noted. (8) When "Railroaded" is noted on the list, this denotes that the fabric is shown railroaded in swatches and on furniture.
    [Show full text]
  • Silk Cotton Vs. Bombax Vs. Banyan
    Ceiba pentandra Kopok tree, Silk-cotton tree Ta Prohm, Cambodia By Isabel Zucker Largest known specimen in Lal Bagh Gardens in Bangalore, India. http://scienceray.com/biology/botany/amazing-trees-from-around-the-world-the-seven-wonder-trees/ Ceiba pentandra Taxonomy • Family: Malvaceae • Sub family: Bombacaceae -Bombax spp. in same family - much online confusion as to which tree is primarily in Ta Praham, Cambodia. • Fig(Moraceae), banyan and kapok trees in Ta Praham • Often referred to as a banyan tree, which is quite confusing. Distribution • Originated in the American tropics, natural and human distribution. • Africa, Asia. – Especially Indonesia and Thailand • Indian ocean islands • Ornamental shade tree • Zone – Humid areas, rainforest, dry areas – Mean annual precipitation 60-224 inches per year – Temperatures ranging from 73-80 unaffected by frost – Elevation from 0-4,500 feet – Dry season ranging from 0-6 months Characteristics • Rapidly growing, deciduous • Reaches height up to 200 feet • Can grow 13 feet per year • Diameter up to 9 feet above buttress – Buttress can extend 10 feet from the trunk and be 10 feet tall • large umbrella-shaped canopies emerge above the forest canopy • http://www.flmnh.ufl.edu/caribarch/ceiba.htm • Home to many animals – Birds, frogs, insects – Flowers open in the evening, pollinated by bats • Epiphytes grow in branches • Compound leaves with 5-8 lance- shaped leaflets 3-8 inches long • Dense clusters of whitish to pink flowers December to February – 3-6 inch long, elliptical fruits. – Seeds of fruit surrounded by dense, cottony fibers. – Fibers almost pure cellulose, buoyant, impervious to water, low thermal conductivity, cannot be spun.
    [Show full text]
  • Fibers and Fabrics; TX335 .A1 U6 NO
    KitlQRr Bureau of Standards Reference book' no' to ygjgtv |Oi Admin. Bldg. taken from the library, gmp STATES Ite.WMENT OF COMMERCE PUBLICATION A11ID3 Db3SbD All103063560 Blandford, Josephlne/FIbers and fabrics; TX335 .A1 U6 NO. 1, 1970 C.1 NBS-PUB-R 1 ^TES ‘‘•‘‘'/I'ti'i'.1'1' 1: BBB8 MB A Consumer’s Guide from the Mational Bureau of Standards NBS CIS 1 IIIIShSs Fibers and Fabrics by Josephine M. Blandford and Lois M. Gurel INFORMATION ABOUT NATURAL AND MAN-MADE FIBERS AND FABRICS TO MEET YOUR PARTICULAR NEEDS. NBS CONSUMER INFORMATION SERIES 1 Editor: James E. Payne Issued November 1970 U.S. DEPARTMENT OF COMMERCE Maurice H. Stans, Secretary Rocco C. Siciliano, Under Secretary Myron Tribus, Assistant Secretary for Science and Technology NATIONAL BUREAU OF STANDARDS A Consumer’s Lewis M. Branscomb, Director GUIDE FROM THE) NATIONAL BUREAU OF STANDARDS For sale by the Superintendent of Documents, U.S. Government Printing Office, U.S. DEPARTMENT Washington, D.C. 20402. OF COMMERCE Price 65 cents. NATIONAL BUREAU OF STANDARDS APR 1 0 1971 FOREWORD Technology is changing not only the products you buy, but the marketplace as well. Unfortunately, this is not an unmixed blessing. Products are constantly being improved, but designs are complicated, quality is vari¬ able, and good advice is hard to get. Modern stores and merchandising bring you a wide variety of products; but the large number of choices and the lack of dependable infor¬ mation often make shopping a confusing and frustrating experience. A generation ago the merchant was likely to be a friend of the family.
    [Show full text]
  • MAKE YOUR OWN SCRUBBIE Create Your Netting Yarn Step 1 Lay Your
    MAKE YOUR OWN SCRUBBIE Create Your Netting Yarn Step 1 Lay your yard of netting (When I was doing craft sales I bought 5 yard lengths.) out on the floor or table (I use my bed or couch and pin it down.). Fold netting to make several layers into a long rectangle, as it came off the bolt. It’s still folded. Try to line up the folded edge as straight as you can. (I put a few pins in to hold the folded piece together.) Step 2 Cut strips 3 to 4 inches in width down the length of the folded rectangle, cutting perpendicular to the end of the fabric to get the longest strips. Cut from the fold out to the opposite edge. Remember it’s folded so the width of the first strip will be double when opened. Therefore cut the first strip narrower(about 1½ inches) . Your first strip (and the last one or two) will be a little irregular when you begin to use it. Your creativity will dictate how to adjust. We are not concerned about perfection here. If you are a perfectionist, buy a machine made scrubbie. If you want a two colored scrubbie cut 1½ to 2 inch strips from both colors and use both strands like one strip. (See the red and white one shown in step 5.) Step 3 Tie the ends of the strips together with a simple knot to form one continuous strip. Wind the strips into a ball if you wish. (I cut the strips as I use them.) Crochet a Simple Scrubbie Step 1 Tie the free end of the strip of nylon net into a slip knot and place the loop over a medium-sized crochet hook, size J or K, and chain four.
    [Show full text]
  • Textile Society of America Newsletter 27:2 — Fall 2015 Textile Society of America
    University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Textile Society of America Newsletters Textile Society of America Fall 2015 Textile Society of America Newsletter 27:2 — Fall 2015 Textile Society of America Follow this and additional works at: https://digitalcommons.unl.edu/tsanews Part of the Art and Design Commons Textile Society of America, "Textile Society of America Newsletter 27:2 — Fall 2015" (2015). Textile Society of America Newsletters. 71. https://digitalcommons.unl.edu/tsanews/71 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 Newsletters by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. VOLUME 27. NUMBER 2. FALL, 2015 Cover Image: Collaborative work by Pat Hickman and David Bacharach, Luminaria, 2015, steel, animal membrane, 17” x 23” x 21”, photo by George Potanovic, Jr. page 27 Fall 2015 1 Newsletter Team BOARD OF DIRECTORS Roxane Shaughnessy Editor-in-Chief: Wendy Weiss (TSA Board Member/Director of External Relations) President Designer and Editor: Tali Weinberg (Executive Director) [email protected] Member News Editor: Ellyane Hutchinson (Website Coordinator) International Report: Dominique Cardon (International Advisor to the Board) Vita Plume Vice President/President Elect Editorial Assistance: Roxane Shaughnessy (TSA President) and Vita Plume (Vice President) [email protected] Elena Phipps Our Mission Past President [email protected] The Textile Society of America is a 501(c)3 nonprofit that provides an international forum for the exchange and dissemination of textile knowledge from artistic, cultural, economic, historic, Maleyne Syracuse political, social, and technical perspectives.
    [Show full text]
  • Archive Trim Pattern Inspiration
    The Archive Collection crafted traditions from artisans of the world Each country has a unique textile tradition, one that utilizes the materials, methods of manufacture and motifs unique to a given region. The Archive Collection represents the diversity of the world’s traditions and the artisans who keep them alive. The textiles that inspired the Archive Collection are from the Museum of International Folk Art in Santa Fe, New Mexico. The Museum is the largest of its kind in the world and its collections of furniture, ceramics, toys, fine art, jewelry, ceremonial objects and textiles come for over 100 countries and 6 continents. The Museum’s 30,000-piece ethnographic textile and dress collection is considered among scholars as one of the top ten in the world. A portion of the proceeds from the sale of the Archive Collection returns to the Museum. Aswan is a multicolored tassel fringe that was inspired by a Middle Eastern hand woven wool and beaded camel bridle. Aswan is woven in a linen, viscose and polyester blend and is offered in 6 colorways. MNM100 - T269 Edo is a small-scale dot design woven with a chenille figure. The delicate repeat featured on Edo was derived from the ikat indigo dyed panel on the vest. The white embroidered thread on the vest represents a technique known as sashiko. Unique to Japan, sashiko is employed to create visual harmony on garments of all kinds. Edo is woven in a linen, cotton, viscose and rayon blend and is offered in 5 colorways. NM204 - T270 Malay features a woven medallion design inspired by a similar pattern also woven into a rattan sleeping mat.
    [Show full text]
  • CAROLINA 103006829 Catalog.Pdf
    ATLANTA INTERNATIONAL AIRPORT (800) 845-2744 thebandannacompany.com (800) 845-2744 thebandannacompany.com B22PAI-000001 Red B22PAI-000002 Navy B22PAI-000003 Yellow B22PAI-000004 Black & Red *one sided print only B22PAI-000005 Kelly B22PAI-000006 Light Blue B22PAI-000007 Royal B22PAI-000008 Fuchsia B22PAI-000009 Orange B22PAI-000012 Lavender B22PAI-000013 Purple B22PAI-000018 Beige B22PAI-000019 Cocoa B22PAI-000020 B22PAI-000014 Silver Terracotta B22PAI-000021 Black B22PAI-000010 Olive B22PAI-000022 Light Pink B22PAI-000016 B22PAI-000023 Honeysuckle Burgundy B22PAI-000015 Plum B22PAI-000024 Gold B22PAI-000039 Hot Pink B22PAI-000027 Hunter Green B22PAI-000043 Mirage Blue B22PAI-000028 White B22PAI-000520 Blue with Red & White B22PAI-000029 *one sided print only Lime B22PAI-000066 B22PAI-000033 Mint Charcoal B22PAI-000068 B22PAI-000036 Strawberry Turquoise B22PAI-000038 B22PAI-000368 Lemon Chambray Blue *one sided print only (800) 845-2744 thebandannacompany.com (800) 845-2744 thebandannacompany.com One side print only B22PAI-000652 B22PAI-000651 B18PAI-000064 B18PAI-000063 English Indigo Paisley English Red Paisley Navy Farmers Hank Red Farmers Hank B22PAI-000653 B22PAI-000654 Prims Paisley Red Prims Paisley Navy B22OPE-000402 Navy Open Center RED LAVENDER ROYAL LIGHT PINK WHITE LIGHT BLUE NAVY COCOA B22OPE-000401 LIGHT PINK Red Open Center PURPLE BLACK BLACK LAVENDER BURGUNDY B22OPE-000403 Black Open Center LIGHT PINK COCOA HUNTER YELLOW GREEN LIGHT BLUE CHARCOAL PURPLE BEIGE BLACK WHITE (800) 845-2744 thebandannacompany.com B22PAI-000201 B22PAI-000293 B22PAI-000200 B22PAI-000294 Navy & Red Charcoal & Honeysuckle Black & White Black & Orange *Import *Import We took this classic bandanna favorite, added the antique faded look with an ultra-soft feel.
    [Show full text]