History of the Australian Wool Industry
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Care Label Recommendations
CARE LABEL RECOMMENDATIONS RECOMMENDED CARE FOR APPAREL PRODUCTS Fiber content, fabric construction, color, product construction, finish applications and end use are all considered when determining recommended care. Following are recommended care instructions for Nordstrom Products, however; the product must be tested to confirm that the care label is suitable. GARMENT/ CONSTRUCTION/ FIBER CONTENT FABRICATION CARE LABEL Care ABREVIATION EMBELLISHMENTS Knits and Sweaters Acetate/Acetate Blends Knits / Sweaters K & S Dry Clean Only DCO Acrylic Sweater K & S Machine Wash Cold, Gentle Cycle With Like Colors Only Non-Chlorine Bleach If Needed MWC GC WLC ONCBIN TDL RP CIIN Tumble Dry Low, Remove Promptly Cool Iron If Needed Acrylic Gentle Or Open Construction, Chenille K & S Turn Garment Inside Out Or Loosely Knit Machine Wash Cold, Gentle Cycle With Like Colors TGIO MWC GC WLC ONCBIN R LFTD CIIN Only Non-Chlorine Bleach If Needed Reshape, Lay Flat To Dry Cool Iron If Needed Acrylic / Rayon Blends Sweaters / Gentle Or Open K & S Professionally Dry Clean Construction, Chenille Or Loosely Knit Short Cycle, No Steam PDC SC NS Acrylic / Wool Blends Sweaters with Embelishments K & S Hand Wash Cold, Separately Only Non-Chlorine Bleach If Needed, No Wring Or Twist Reshape, Lay Flat To Dry Cool Iron If Needed HWC S ONCBIN NWOT R LFTD CIIN DNID Do Not Iron Decoration Acrylic / Wool Blends Sweaters K & S Hand Wash Cold, Separately Only Non-Chlorine Bleach If Needed Roll In Towel To Remove Excess Moisture Reshape, Lay Flat To Dry HWC S ONCBIN RITTREM -
Textile Printing
TECHNICAL BULLETIN 6399 Weston Parkway, Cary, North Carolina, 27513 • Telephone (919) 678-2220 ISP 1004 TEXTILE PRINTING This report is sponsored by the Importer Support Program and written to address the technical needs of product sourcers. © 2003 Cotton Incorporated. All rights reserved; America’s Cotton Producers and Importers. INTRODUCTION The desire of adding color and design to textile materials is almost as old as mankind. Early civilizations used color and design to distinguish themselves and to set themselves apart from others. Textile printing is the most important and versatile of the techniques used to add design, color, and specialty to textile fabrics. It can be thought of as the coloring technique that combines art, engineering, and dyeing technology to produce textile product images that had previously only existed in the imagination of the textile designer. Textile printing can realistically be considered localized dyeing. In ancient times, man sought these designs and images mainly for clothing or apparel, but in today’s marketplace, textile printing is important for upholstery, domestics (sheets, towels, draperies), floor coverings, and numerous other uses. The exact origin of textile printing is difficult to determine. However, a number of early civilizations developed various techniques for imparting color and design to textile garments. Batik is a modern art form for developing unique dyed patterns on textile fabrics very similar to textile printing. Batik is characterized by unique patterns and color combinations as well as the appearance of fracture lines due to the cracking of the wax during the dyeing process. Batik is derived from the Japanese term, “Ambatik,” which means “dabbing,” “writing,” or “drawing.” In Egypt, records from 23-79 AD describe a hot wax technique similar to batik. -
Nylon Wool Fiber Columns
U.S. Corporate Headquarters Polysciences Europe GmbH Polysciences Asia-Pacific, Inc. 400 Valley Rd. Badener Str. 13 2F-1, 207 DunHua N. Rd. Warrington, PA 18976 69493 Hirschberg an der Taipei, Taiwan 10595 1(800) 523-2575 / (215) 343-6484 Bergstrasse, Germany (886) 2 8712 0600 1(800)343-3291 fax +(49) 6201 845 20 0 (886) 2 8712 2677 fax [email protected] +(49) 6201 845 20 20 fax [email protected] [email protected] TECHNICAL DATA SHEET 425A Page 1 of 2 Nylon Wool Fiber Columns BACKGROUND NYLON WOOL FIBER VS. SHEEP RBC ROSETTING METHODS Researchers have been using nylon wool fiber procedures to separate T-cell and Wong and Mittal (1981)9 did extensive research comparing the methods of Nylon B-cell lymphocytes for more than 20 years. In the early 1970’s M. H. Julius et al Wool Fiber separation and the commonly- used and well-studied sheep RBC (1973),1 Eisen et al (1972),2 and Greaves & Brain (1974)3 described specific (SRBC) rosetting.10,11 Wong and Mittal were interested in isolating B-cells for conditions for the use of Nylon Wool Fiber in columns or plastic straws. These serologic typing of HLA-DR antigen. protocols resulted in yields of 50-90% T-cell recovery and 10-100 fold B-cell depletion. Wong and Mittal concluded that “Due to its simplicity and reliability, nylon wool adherence may be preferred over the SRBC rosette method for the routine pheno- These early researchers found it necessary to scrub or wash their Nylon Wool Fiber typing of B-cells.” Their findings are illustrated in Table 1. -
Wool Is 100% Biodegradable
WOOL FACTS WOOL IS 100% BIODEGRADABLE Wool is a natural and renewable resource. As long as there is grass to eat, sheep will continue to produce wool. When wool is disposed of, it will naturally decompose in soil in a matter of months or years, slowly releasing valuable nutrients back into the earth. Synthetic fibres, on the other hand, can be extremely slow to degrade and significantly contribute to the world’s overflowing landfills. BIODEGRADATION N, S & other OF WOOL nutrients All materials of animal and vegetable origin have some degree HOW DOES of biodegradability, meaning that they are capable of being WOOL decomposed by the action of living organisms, such as fungi BIODEGRADE? and bacteria. Wool is composed of the natural protein keratin, which is similar to the protein that makes up human hair. When keratin is broken down naturally by microorganisms, the products do not pose any environmental hazard. On disposal, if wool is kept warm and moist or buried in soil, WOOL READILY fungal and bacterial growths develop which produce enzymes that BIODEGRADES digest wool. IN MOIST, WARM On the other hand, thanks to the unique chemical structure of keratin and wool’s tough, water-repellent outer membrane, clean and dry CONDITIONS wool fibres do not readily degrade. This allows wool products to be resilient and long-lasting in normal conditions. WOOL IS 100% BIODEGRADABLE WOOL BIODEGRADES QUICKLY Wool biodegrades readily in as little as three to four months but the rate varies with soil, climate and wool characteristics. This releases essential elements such as nitrogen, sulphur and magnesium back to the soil, able to be taken up by growing plants. -
Pashmina Wool–A Valuable Commodity
International Journal of Avian & Wildlife Biology Mini Review Open Access Pashmina wool–a valuable commodity Abstract Volume 3 Issue 6 - 2018 The conversion of goat hair into Pashmina was investigated. Pashmina is obtained Herbert W Ockerman from the Changthangi goats found in the Himalayan regions. The nomadic herders and The Ohio State University, USA animals that live in these regions have to adapt to harsh environments. The Pashmina goats play an important role in the livelihoods of the nomadic herders. Correspondence: Herbert W Ockerman, The Ohio State University, Ohio, USA, Email Keywords: changthangi, pashmina, goat, cashmere, himalayas, ladakh Received: November 01, 2018 | Published: November 16, 2018 Introduction The study investigated the ethnozoological aspects of agriculture in hostile environments and the production of the finest wool in the world. Changthangi or Pashmina goats can tolerate high altitude and the harsh environment of the Himalayan desert by growing an undercoat of fine hair which serves as insulation to keep them warm. This is the origin of pashmina wool. The research showed that the animals found in these regions such as yak, sheep and goats play a critical role in allowing humans to exist in a harsh environment. The elevation of these regions is upwards of 4,350 m (14,270 ft.) which causes a lack of oxygen, cold temperatures ranging from –20°C (–4°F) to –40°C (–40°F), strong winds, meager rainfall and lack of vegetation. This report will focus on the domestic Changthangi (or Pashmina) breed which produces wool that is known for its firmness, warmth, durability, lightness, softness and ability to Figure 2 Pashmina goat, sheep and yak herding. -
Colaris Digital Textile Printing
ZIMMER AUSTRIA | DIGITAL PRINTING SYSTEMS COLARIS DIGITAL TEXTILE PRINTING HOME TEXTILES APPAREL DECORATION AUTOMOTIVE FLAGS & BANNERS www.zimmer-austria.com 2020.01.15 page 1 CONTENT 1. INNOVATION IS IN OUR DNA 1.1. HISTORIC MILESTONES 3 2. INK CLASSES 2.1. TYPES | PRODUCTS | PROCESS | REQUIREMENTS 4 2.2. TYPES | PRODUCTS | PROCESS | REQUIREMENTS 5 3. PRINT TECHNOLOGY 3.1. PROCESSING DIAGRAM 6 3.2. PROCESS EQUIPMENT 7 4. REACTIVE PRINTING 4.1. GENERAL INFORMATION 8 4.2. EXAMPLE: TERRY TOWEL PRINT PRODUCTION 9 5. ACID PRINTING 5.1. GENERAL INFORMATION 10 5.2. EXAMPLE: UPHOLSTERY PRINT LINE 11 6. DISPERSE / SUBLIMATION PRINTING 6.1. GENERAL INFORMATION 12 6.2. EXAMPLE: PES BLANKET PRINT LINE 13 7. VAT INDANTHRENE® PRINTING 7.1. GENERAL INFORMATION 14 7.2. APPLICATION DIVERSITY 15 8. PIGMENT PRINTING 8.1. GENERAL INFORMATION 16 8.2. APPLICATION DIVERSITY 17 9. CATIONIC PRINTING 9.1. GENERAL INFORMATION 18 10. COLARIS - CHARACTERISTICS AND FEATURES 10.1. COLARIS MODELS 19 11. COLARIS FEATURES AND COMPONENTS 11.1. INTEGRATED MACHINE COMPONENTS 20 11.2. INTEGRATED MACHINE COMPONENTS 21 12. PROCESS EQUIPMENT 12.1. INLINE COMPONENTS 22 12.2. OFFLINE COMPONENTS 23 13. PRINT HEAD 13.1. TECHNOLOGY 24 13.2. RECONDITION CENTER 25 14. ZIMMER TECHNOLOGY & APPLICATION CENTER 14.1. GENERAL INFORMATION 26 14.2. EQUIPMENT & FACILITIES 27 www.zimmer-austria.com 2020.01.15 page 2 1. INNOVATION IS IN OUR DNA 1.1. HISTORIC MILESTONES Vertical Duplex blanket printer from 1951 First commercial rotary screen printer 1958 The broad digital competence of ZIMMER AUSTRIA is based on an innovation introduced more than 4 decades ago. -
FABRICS/ DYING Dictionary
FABRICS/ DYING dictionary ACRYLIC BABYCORD Acrylic fabric is a manufactured fiber with a soft wool-like feel and Babycord is a ribcord fabric with a very small and thin rib line. The an uneven finish. It is used widely in knits as the fabric has the same fabric is often lighter and softer than normal or corduroy fabric. It is cozy look as wool. Acrylic fabric is favored for a variety of reasons very soft and comfortable, and is often made in a stretch quality. it is warm, quite soft, holds color well, is both stain and wrinkle resistant and it doesn’t itch. These qualities make acrylic a great BLEND substitute for wool. A blend fabric or yarn is made up of more than one fibre. In the yarn, two or more different types of fibres are used to form the yarn. ALPACA Blends are used to create a more comfortable fabric with a softer Alpaca wool comes from a South American animal that roams the feel. A good example is a cotton/wool blend; the mixture of cotton mountain slopes of Ecuador, Peru, Bolivia and Chile. The fleece and wool will prevent the fabric from being excessively warm and from an alpaca is similar to wool or mohair, but is softer, silkier, and will make the fabric softer to the skin. warmer. Because alpaca wool takes much longer to grow it is often more expensive and exclusive. However, garments made from this BOUCLE fabric are stronger and more comfortable. The term boucle is derived from the French word boucle, which literally means “to curl”. -
Sea Silk and Shellfish Purple Dye in Antiquity, Ed. HL Enegren and F
Fulcher, K 2017 Review of Treasures from the Sea: Sea Silk and Shellfish Purple Dye in Antiquity, ed. H. L. Enegren and F. Meo. Papers from the Institute of Archaeology, 27(1): Art. 15, pp. 1–4, DOI: https://doi.org/10.5334/pia-535 REVIEW Review of Treasures from the Sea: Sea Silk and Shellfish Purple Dye in Antiquity, ed. H. L. Enegren and F. Meo Kate Fulcher Treasures from the Sea: Sea silk and shellfish purple dye in antiquity, ed. H. L. Enegren and F. Meo, Oxford; Havertown: Oxbow Books, 224 pages (Hardbound), £38, US$55, 2017, ISBN: 978-1785704352. This volume presents the proceedings of a conference in Lecce in 2013, which brought together several different approaches including archaeology, experimentation, scientific analysis, and terminology. This interdisciplinary approach is reflected in the publication, which both maintains the reader’s interest and works well for ancient materials. This volume presents the proceedings of a 80% during processing. The natural col- conference held in Lecce, Italy, in 2013, on our is a greenish brown, transformed into a the subject of two sea “treasures”: the beard golden brown by cleaning and treating with fibres of the fan mussel, used to weave small lemon juice. It continued to be produced scale textiles known as sea silk, and purple through to modern times, until 1992 when dye extracted from the hypobranchial glands it was placed under the protection of the of certain molluscs. Sixteen papers are pre- EU Habitat Directive. One interesting short sented, the first half focussing on sea silk, and article (Pes & Pes) introduces the reader to the second half on purple dye. -
Material/Source Features Pros Cons Polyester/Cotton Blend 80% Polyester / 20% Cotton, 65/35, and 40/60 Are Common Blends. • La
Material/Source Features Pros Cons Polyester/Cotton Blend Liquid Resistance Appropriate for use in Polyester blends burn Splash resistant. clinical settings and readily when ignited, 80% Polyester / 20% No specific chemical resistance. research laboratories and are not appropriate Cotton, 65/35, and 40/60 Anecdotal evidence suggests polyester blends provide better protection against where biological for use with flammable are common blends. corrosive material than does cotton. material is liquids, pyrophoric Flame Resistance manipulated. materials, or near open No flame. Lab Supply Polyester blends burn more readily than 100% cotton or flame-resistant Companies materials. Chemistry Comfort Stockroom Lightweight and breathable. Biology More cotton in the blend results in better breathability. Stockroom 100% Cotton Liquid Resistance Appropriate for use in Cotton lab coats should Not splash resistant. clinical settings and be supplemented with a Lab Supply No specific chemical resistance. research laboratories chemical splash apron Companies Anecdotal evidence suggests cotton lab coats provide better protection from where there is light when corrosive material Chemistry solvent contamination than corrosive contamination. flammable liquid or is handled. Stockroom Flame Resistance open flame use. Biology No Stockroom Burns less readily than polyester blends. Comfort Lightweight and breathable. 100% Cotton treated with Liquid Resistance Appropriate for use in More costly than a flame retardant. Not splash resistant. research laboratories traditional 100% cotton No specific chemical resistance. where substantial fire lab coat. Lab Supply Anecdotal evidence suggests cotton lab coats provide better protection from risk exists from Companies solvent contamination than corrosive contamination. flammable material Manufacturers of Flame Resistance handling or open flame flame-resistant Yes use. -
Dyeing Methods for Wool Blends Contemporary Wool Dyeing and Finishing
Dyeing methods for wool blends Contemporary wool dyeing and finishing Mr Arthur Fisher CSIRO Summary 1. Introduction 2. Dyeing wool/polyester blends 3. Dyeing wool/polyamide blends 4. Dyeing wool acrylic blends 5. Dyeing wool silk blends 6. Dyeing wool cotton blends 1. Introduction Dyeing fibre blends There are three significant reasons for using blends of fibres: § Economy - The partial replacement of expensive fibres, e.g. wool with cheaper fibres, can make the market for a fabric wider, and increase production volumes. § Physical properties - The ability to gain some of the advantages of each fibre can be of significant advantage e.g. polyester can contribute strength and wool moisture absorbency to a polyester/wool blend. § Aesthetics - The attractiveness of the appearance and the handle of the fabric can be improved by the use of blends to give multicoloured fabrics, and combinations of yarns with different characteristics of lustre, crimp or denier. 2. Dyeing wool/polyester blends Dyeing wool/polyester blends § PES/wool blended fabrics are mainly used for apparel, i.e. suits. Blending wool with PES makes the fabric cheaper and increases durability and wrinkle-resistance. Main outlets are worsted fabrics. § The most common blend ratio for PES/WO is 55:45 but a large variety of other blend ratios can also be found in the market. § PES/WO blends are dyed in piece form (solid shades) or as yarn on packages (for pattern wovens). Dyeing wool/polyester blends (cont.) § There are a number of methods by which wool/polyester blends may be dyed, and many dye manufacturers offer products which may be used. -
Fabric Fiber Content
Fabric Types, Count & Fiber Content Zweigart Linen Count Content Belfast 32 100% linen Afghans - 100% Polyacrylic Cashel 28 100% linen Abby 18ct Alba 14ct Almanac 14ct Cork 19 100% linen Anne Cloth 18ct Baby Snuggle 18ct Country Home 18ct Dublin 25 100% linen Diamond 18ct Gloria 14ct Hearthside 14ct Edinborough 36 100% linen Honeycomb 18ct Novara 14ct Patrice 14ct Fine Linen 45 55% linen + 45% cotton Afghans - 100% Cotton Glasgow 28 100% linen Anne Cloth 18ct Augusta 14 ct Novara 14ct Kingston 50 100% linen Teresa 14ct Newcastle 40 100% linen Afghans- Misc Normandie 55% cotton + 45% linen Pastel LinenD 28 52% cotton + 48% linen Gloria 14ct 70% rayon + 30% linen Pearl Linen 20, 25, 28 60% polyester + 40% linen Merino 28ct 100% Wool Mosaik 18ct 52% cotton + 42% rayon Patterned Count Content Tannenbaum 18ct 52% cotton + 42% rayon Cottage Huck 14 100% cotton Aida Weave Count Content Belinda 20 52% cotton + 48% rayon Diana 20 52% cotton + 48% rayon Aida 8, 11, 14, 16, 18 100% cotton Newport 28 100% linen Country AidaD 7 100% polyacrylic Sambuca 28 60% polyester + 40% linen Damask Aida 11,14,18 52% cotton + 48% rayon Saronno 28 52% cotton + 48% rayon GoldauD 7 55% rayon + Shenandoah 28 55% linen + 45% rayon 40% cotton + 5% metallic Hardanger 22 100% cotton Canvas Count Content Hearthstone 14 60% cotton + 40% linen Congress 24 100% cotton Herta 6 100% cotton Congressa 24 100% cotton Huck 14 100% cotton Cordova 22 100% cotton Klostern 7 60% rayon + 40% cotton Double Mesh 5, 6.5, 7.5, 10, 12, Linen Hardanger 22 100% linen 14, 16, 18, 20 100% cotton -
Identification Guidelines for Shahtoosh & Pashmina
Shahtoosh (aka Shah tush) is the trade name for woolen garments, usually shawls, made from the hair of the Tibetan antelope (Pantholops hodgsonii). Also called a chiru, it is considered an endangered species, and the importation of any part or product of Pantholops is prohib- ited by U.S. law. Chiru originate in the high Himalaya Mountains of Tibet, western China, and far northern India where they are killed for their parts. Their pelts are converted into shahtoosh, and horns of the males are taken as trophies. No chirus are kept in captivity, and it reportedly takes three to five individuals to make a single shawl (Wright & Kumar 1997). Trophy Head with Horns of male Pantholops hodgsonii SHAWL COLORS Off-white and brownish beige are the natural colors of the chiru’s pelage. Shahtoosh shawls in these natural colors are the most traditional. How- ever, shahtoosh can be dyed almost any color of the spectrum. Unless the fibers are dyed opaque black, most dyed fibers allow the transmission of light so that the internal characteristics are visible under a compound microscope. (See "Microscopic Characteristics" in Hints for Visual Identification.) DIFFERENT PATTERNS AND/OR DECORATION SIZES - Solid color - Standard shawl 36" x 81" - Plaid - Muffler 12" x 60" - Stripes - Man-size, Blanket 108" x 54" - Edged in wispy fringe - Couturier length (4' x 18' +) - Double color (each side of shawl is a different color) - All-over embroidery APPROXIMATE PRICE RANGES Cost Wholesale Retail Plain $550-$1,000 $700-$2,500 $1,500-$2,450 Pastels $700-$850 $1,300-$2,600 $1,800-$3,000 Checks/Plaids $600-$1,500 $800-$1,180 $1,300-$2,450 Stripe $600-$800 $1,300-$1,800 $2,450-$3,200 Double color $800-$1,000 $1,380-$2,800 $2,100-$3,200 Border embroidery $850-$3,050 $1,080-$1,600 $1,500-$3,200 All-over embroidery $800-$5,000 $1,380-$5,500 $3,000-$6,500 White $1,800 $2,300 $4,600 Above prices are for standard size shawls in year 2000.