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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 -
“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. -
Modh-Textiles-Scotland-Issue-4.Pdf
A TEXTILES SCOTLAND PUBLICATION JANUARY 2013 AN ENCHANTING ESCAPE IN SCOTLAND FABULOUS FABRIC AND DETAILED DESIGN FASHION FOUNDRY NURTURING SCOTTISH TALENT contents Editor’s Note Setting the Scene 3 Welcome from Stewart Roxburgh 21 Make a statement in any room with inspired wallpaper Ten Must-Haves for this Season An Enchanting Escape 4 Some of the cutest products on offer this season 23 A fashionable stay in Scotland Fabulous Fabric Fashion Foundry 6 Uncovering the wealth of quality fabric in Scotland 32 Inspirational hub for a new generation Fashion with Passion Devil is in the Detail 12 Guest contributor Eric Musgrave shares his 38 Dedicated craftsmanship from start to fi nish thoughts on Scottish textiles Our World of Interiors Find us 18 Guest contributor Ronda Carman on why Scotland 44 Why not get in touch – you know you want to! has the interiors market fi rmly sewn up FRONT COVER Helena wears: Jacquard Woven Plaid with Herringbone 100% Merino Wool Fabric in Hair by Calzeat; Poppy Soft Cupsilk Bra by Iona Crawford and contributors Lucynda Lace in Ivory by MYB Textiles. Thanks to: Our fi rst ever guest contributors – Eric Musgrave and Ronda Carman. Read Eric’s thoughts on the Scottish textiles industry on page 12 and Ronda’s insights on Scottish interiors on page 18. And our main photoshoot team – photographer Anna Isola Crolla and assistant Solen; creative director/stylist Chris Hunt and assistant Emma Jackson; hair-stylist Gary Lees using tecni.art by L’Oreal Professionnel and the ‘O’ and irons by Cloud Nine, and make-up artist Ana Cruzalegui using WE ARE FAUX and Nars products. -
Table Decorations for a Silver Anniversary Glas and Lace
Table decorations for Glas a Silver Anniversary and lace See more on page 8 See more on page 5 Member magazine for The Danish Lace Association February 2021 142 Dear Member By: Ketty Busk As I write this - end November - I am and hope it will be possible as planned, else in this bulletin, we have moved sitting admiring the wintersun’s rays in March. down to the ground floor on the left- thinking about the fact that when this hand side in Nørrevoldgade 57 in Ny- magazine is published, the sun might It has been a wish for the General borg. hopefully shine on a good new year. Meeting to be held in different areas of the country, and that wish is herewith This has been a blessing for our board, I hope for a good year for the lace mak- granted. as we do not need to bring everything ers – without corona - so that we again up and down the stairs to the first floor. can come out and see what is happen- It will be as in 2020, a General Meeting ing around in our country. without workshops and without sales- We also hope that more people will join and exhibition booths, as we have no us at the Open House when we are on 2020 was a year without fairs, without idea how the situation will turn out to be. the ground floor. exhibitions – at least not of the larger kinds – as the General Meeting also We applied for an opportunity to rent Finely, I will take this opportunity to was postponed until August. -
Weaving Twill Damask Fabric Using ‘Section- Scale- Stitch’ Harnessing
Indian Journal of Fibre & Textile Research Vol. 40, December 2015, pp. 356-362 Weaving twill damask fabric using ‘section- scale- stitch’ harnessing R G Panneerselvam 1, a, L Rathakrishnan2 & H L Vijayakumar3 1Department of Weaving, Indian Institute of Handloom Technology, Chowkaghat, Varanasi 221 002, India 2Rural Industries and Management, Gandhigram Rural Institute, Gandhigram 624 302, India 3Army Institute of Fashion and Design, Bangalore 560 016, India Received 6 June 2014; revised received and accepted 30 July 2014 The possibility of weaving figured twill damask using the combination of ‘sectional-scaled- stitched’ (SSS) harnessing systems has been explored. Setting of sectional, pressure harness systems used in jacquard have been studied. The arrangements of weave marks of twill damask using the warp face and weft face twills of 4 threads have been analyzed. The different characteristics of the weave have been identified. The methodology of setting the jacquard harness along with healds has been derived corresponding to the weave analysis. It involves in making the harness / ends in two sections; one section is to increase the figuring capacity by scaling the harness and combining it with other section of simple stitching harnessing of ends. Hence, the new harness methodology has been named as ‘section-scale-stitch’ harnessing. The advantages of new SSS harnessing to weave figured twill damask have been recorded. It is observed that the new harnessing methodology has got the advantages like increased figuring capacity with the given jacquard, less strain on the ends and versatility to produce all range of products of twill damask. It is also found that the new harnessing is suitable to weave figured double cloth using interchanging double equal plain cloth, extra warp and extra weft weaving. -
Winter Lace Conference
5TH ANNUAL WINTER LACE CONFERENCE February 18-20, 2011 Plus an “add on” additional day with your teacher on February 21 AND EXTRA PRE-CONFERENCE Workshops on February 18 with Louise Colgan, Susie Johnson, and Marji Suhm Hotel Hanford, Costa Mesa, CA Hotel price For more information, contact: same as Betty Ward at 1-714-522-8118 or [email protected] 2007! Belinda Belisle at 1-562-596-7882 or belis92645@aol. com Page 1 Join us for lace classes, vendors, special speakers, and a LOT OF FUN for the . 5th Annual WINTER LACE CONFERENCE! We would like to invite you to be a part of the 5th Annual Winter Lace Conference. In addition to our selection of classes and wonderful teachers, a vendor hall packed with lace Friday, February 18, 2011 EXTRA: Intermediate and supplies, and a special banquet presentation, this year we are Advanced Milanese Workshop pleased to bring you: with Louise Colgan OR Withof Workshop with Susie A special Friday workshop for BEGINNING Johnson FINGER LACERS and INTERMEDIATE and OR ADVANCED MILANESE and WITHOF lacers—and Beginning Greek Finger Lace those wanting one-on-one attention Workshop with Marji Suhm Sunday sit-down, served breakfast! R&R—Registration and Special opening of the vending hall on Friday Reception evening! Vendor Hall Opens We know you will not want to miss the special banquet Saturday, February 19, 2011 presentation by lacemaker and lace historian, Carole Classes McFadzean, on Sunday night. Vendor Hall Luncheon Carol will take you on a historical journey and mystery of lace prickings found in the attic of a school in her area and traced Sunday, February 20, 2011 back to the lace made for Queen Victoria! You will want to Breakfast make a point to attend this special program. -
THE SLOW HANDS LAB the Slow Hands’ Lab
THE SLOW HANDS LAB The Slow Hands’ Lab A Thesis Project by Jiayi Dong Class of 2019 MFA, Design for Social Innovation School of Visual Arts Thesis Advisor Archie Lee Coates IV TABLE OF CONTENT TABLE OF CONTENT INTRODUCTION 3 DESIGN PROCESS 9 INTERVENTION 31 LEARNINGS 45 LOOKING FORWARD 47 ACKNOWLEDGEMENT 49 INTRODUCTION Suzhou embroidery (Su embroidery for short) was originated in Suzhou, China and later on spread to the neighboring areas such as Nantong and Wuxi in Jiangsu province. These areas, locat- THE HISTORY ed in the lower reach of Youngest River, have been famous for their high quality silk produc- OF SU EMBROIDERY ART tions for centuries. The fertile soil, mild tempera- ture, and booming production of silk fabric and thread naturally nourished the burgeoning and flourishing of Suzhou embroidery. According to "Shuo Yuan", written by Liu Xiang during the Western Han Dynasty (206 BC - 24 AD), the country of Wu (current Suzhou area) has started to use embroidery to decorate garments over 2,000 years ago. As described in the book of "Secret Treasures of Qing," the Suzhou embroi- ders in Song Dynasty (960-1279) used "needles that could be as thin as the hair. During the Ming Dynasty (1368-1644), Suzhou has become a thriving center for silk industries and handicrafts. Artists in Wu area, represented by Tang Yin (Bohu) and Shen Zhou, helped the further development of Suzhou embroidery. Embroiders reproduced their paintings using needles. These works were so vivid and elegant as to be called "paintings by needle" or "unmatch- able even by the nature." Since then, Suzhou embroidery evolved a style of its own in needle- work, color plan and pattern. -
Textilní Materiály a Výzdobné Techniky
Textilní materiály a výzdobné techniky / Textile materials and decoratve techniques 5. přednáška / 5 lecture Petra Mertová, 2017, FFMU Brno, [email protected] Téma přednášky / Lecture topic Textilní výrobky / Textile products 1. předtkalcovské techniky – paličkovaná krajka / 1. non-loom techniques - bobbin lace Paličky / bobbins - pláštíkové (mladší) / bobbin with „skirt“ (younger) Slovenské paličky se „zvonečky“ - bezpláštíkové / without „skirt“ / bobbins from Slovakia Poduška / Pillow „poduška“ Francouzská poduška / French pillow Španělská poduška / Spanish pillow Finská poduška / Finnish pillow Anglická poduška / English pillow Podvinky / Design on parchment or stiff card The design is first pricked by a series of pinholes Pomůcky z Vamberecka / Tools of Vamberk, Bohemia Historie paličkované krajky / History of bobbin lace Vzorníky / Pattern books Pro krajky (šitá krajka, pozamentérie, paličkovaná krajka, výšivka) / For laces (passements, needlepoints laces, bobbin laces, embroidery) Eyn new kunstlich boich (1527) – P. Quentel, Kolín nad Rýnem Esamplario dei lavori (1530) – N. d´Aristotela zv. Zappino Esamplario nuovo (1531) autor Tagliente Le Pompe (1557) bratři Giovanni Battista a Marchio Sesa – první pro paličkovanou krajku Parasole (1595) Vzorníky / pattern book Chr. Froshover: New Modelbuch Paličkovaná krajka – retičela / bobbin lace „genoese“ Šitá krajka - retičela / Embroidery lace „genoese“ Základní prvky / basic technology Pláténko - / polohod - / pavouček - / pecička - Dělení paličkované krajky / Basic types of bobbin laces -Západoevropská krajka / Western European lace -Východoevropská krajka / Eastern European lace - Pásková krajka / tape lace - Mnohopárová krajka / multi-pair lace Mnohopárová krajka / Multi-pair lace Půdice / reseau or ground, mesh, background Valencienská krajka / Valenciennes lace Valencienská krajka / Valenciennes lace Vláčková krajka / czech lace called „vláčka“ Vláčková krajka / czech lace called „vláčka“ Kovová krajka – Rusko, 19. stol. /Metal lace, Russia, 19th cent. -
A Working Vocabulary for the Study of Early Bobbin Lace 2015
A Working Vocabulary for the study of Early Bobbin Lace 2015 Introduction This is an attempt to define words used when discussing early bobbin lace; assembling the list has proved an incredibly difficult task! Among the problems are: the imprecision of the English language; the way words change their meaning over years/centuries; the differences between American English, English English and translations between English and other languages... The list has been compiled with the help of colleagues in Australia, Sweden, UK and USA; we come from very different experiences and in some cases it has been impossible to reach a precise definition that we all agree. In these cases either alternatives are given, or I have made decisions on which word to use. As the heading says, this is a working vocabulary, one I and others can use when studying early lace, and I am open to persuasion that different words and definitions might be better. 2015 Early bobbin lace - an open braid or fabric featuring plaits and twisted pairs, created by manipulation of multiple threads (each held on a small handle known as a bobbin); as made from the first half of the sixteenth century until an abrupt change in style in the1630s. Described in the sixteenth century as Bone Lace, also called Passamayne Lace (from the French for braid or trimming) or passement aux fuseaux. Reconstruction - a copy that, given the constraints of modern materials, is as close as possible to the original lace in size/proportion and technique. Interpretation - reproduction of lace from patterns or paintings, or where it is not possible to see the exact structure and/or proportions of the original lace Adaptation - taking an original lace, pattern or illustration and working it in a completely different material, scale or proportion. -
African Textiles in the V&A 1852- 2000
Title Producing and Collecting for Empire: African Textiles in the V&A 1852- 2000 Type Thesis URL http://ualresearchonline.arts.ac.uk/6141/ Date 2012 Citation Stylianou, Nicola Stella (2012) Producing and Collecting for Empire: African Textiles in the V&A 1852-2000. PhD thesis, University of the Arts London and the Victoria and Albert Museum. Creators Stylianou, Nicola Stella Usage Guidelines Please refer to usage guidelines at http://ualresearchonline.arts.ac.uk/policies.html or alternatively contact [email protected]. License: Creative Commons Attribution Non-commercial No Derivatives Unless otherwise stated, copyright owned by the author Producing and Collecting for Empire: African Textiles in the V&A 1852-2000 Nicola Stella Stylianou Submitted to University of the Arts London for PhD Examination October 2012 This is an AHRC funded Collaborative PhD between Research Centre for Transnational Art, Identity and Nation (TrAIN) at UAL and the Victoria and Albert Museum. Volume 1 Abstract Producing and collecting for Empire: African textiles in the V&A 1850-2000 The aim of this project is to examine the African textiles in the Victoria and Albert Museum and how they reflect the historical and cultural relationship between Britain and Africa. As recently as 2009 the V&A’s collecting policy stated ‘Objects are collected from all major artistic traditions … The Museum does not collect historic material from Oceania and Africa south of the Sahara’ (V&A 2012 Appendix 1). Despite this a significant number of Sub-Saharan African textiles have come into the V&A during the museum’s history. The V&A also has a large number of textiles from North Africa, both aspects of the collection are examined. -
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. -
DAMASK: a Firm, Glossy, Jacquard-Patterned Fabric That May Be Made from Linen, Cotton, Rayon, Silk, Or a Combination of These with Various Manufactured Fibers
D DAMASK: A firm, glossy, Jacquard-patterned fabric that may be made from linen, cotton, rayon, silk, or a combination of these with various manufactured fibers. Similar to brocade, but flatter and reversible, damask is used for napkins, tablecloths, draperies, and upholstery. DAMPENING (IN TIRE CORD): The relative ability to absorb energy and deaden oscillation after excitation. DECATING MARK: A crease mark or impression extending fillingwise across the fabric near the beginning or end of the piece. DECATIZING: A finishing process in which fabric, wound tightly on a perforated roller, either has hot water circulated through it (wet decatizing), or has steam blown through it (dry decatizing). The process is aimed chiefly at improving the hand and removing wrinkles. DECITEX: One tenth of a tex. DECORTICATING: A mechanical process for separating the woody matter from the bast fiber of such plants as ramie and hemp. DEEP-DYEING VARIANTS: Polymers that have been chemically modified to increase their dyeability. Fibers and fabrics made therefrom can be dyed to very heavy depth. DEFECTS: A general term that refers to some flaw in a textile product that detracts from either performance or appearance properties. DEFORMATION: A change in the shape of a specimen, e.g., an increase in length produced as the result of the application of a tensile load or force. Deformation may be immediate or delayed, and the latter may be recoverable or nonrecoverable. DEGRADATION: The loss of desirable physical properties by a textile material as a result of some process or physical/chemical phenomenon. DEGREE OF ESTERIFICATION: The extent to which the acid groups of terephthalic and/or other acids have reacted with diols to form ester groups in polyester polymer production.