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American Leather Fabric & Leather Grade

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AMERICAN LEATHER " Leather Options Grade Color Code Price Grade Color Code Price Brandy BAI8006 D Black Hills ES99999 G Butterscotch BAI8012 D Cognac ES33001 G Cloud BAI7008 D Elmo Soft Espresso ES93129 G Cream BAI8009 D 6 Colors Everest ES00100 G Bali Gravel BAI8007 D India Ink ES71017 G 11 colors Marigold BAI8011 D Tahitian Pearl ES11049 G Mocha BAI7007 D Clamshell FLG1631 G Ocean BAI8008 D Java FLG1600 G Onyx BAI7005 D Flagstaff Marina FLG1624 G Red Hibiscus BAI8010 D 6 Colors Portobello FLG1630 G Storm BAI7006 D S'More FLG1628 G Branch CRI5221 D Sugar Cookie FLG1616 G Butterscotch CRI5224 D Butterscotch HAV6012 G Onyx CRI5219 D Haven Champagne HAV6013 G Poppy CRI5222 D Heritage Coffee Bean HAV6004 G Capri Russet CRI5220 D 6 colors Molasses HAV6006 G 11 colors Sand Dollar CRI5216 D Smoke HAV6007 G Shadow CRI5218 D Truffle HAV6010 G Shoreline CRI5223 D Butterscotch BLI3002 H Sunrise CRI5225 D Cafe BLI3004 H Thundercloud CRI5217 D Cinnamon BLI3009 H White CRI5215 D Earl Grey BLI3006 H Ash BIS2002 F Bliss Ginger BLI3003 H Black BIS0001 F 10 colors Glaze BLI3005 H Brown BIS0005 F Licorice BLI3007 H Butterscotch BIS2011 F Sangria BLI3010 H Bison Charcoal BIS2003 F Slate BLI3008 H 10 Colors Deep Blue BIS2006 F Vanilla Bean BLI3001 H Rouge BIS2005 F Black Truffle SAT4005 H Tangerine BIS2007 F Clove SAT4007 H Tobacco BIS2004 F Crème Brulee SAT4001 H White BIS0030 F Earl Grey SAT4004 H Black DOL6210 F Satori French Press SAT4003 H Caramel DOL6217 F 10 colors Honey SAT4011 H Chocolate DOL6213 F Midnight SAT4006 H Citrus DOL6219 F Red Pepper SAT4008 H Dolce Cognac DOL6214 F Smoke SAT4010 H 10 colors Cream DOL6218 F Spice SAT4009 H Gray DOL6211 F Navy DOL6216 F Pewter DOL6212 F Red DOL6215 F AMERICAN LEATHER " americanleather.com Rev. 04.02.18 6 AMERICAN LEATHER " Fabric Options - Calming Classics PATTERN NAME COLOR NAME CODE GRADE CONTENT CLEAN CODE REPEAT 1 ALPACA WOOL BEIGE AW-5-12 V 34% EGYPTIAN COTTON, 31% PERUVIAN BABY ALPACA, 19% COTTON, 16% RAYON S N/A 2 ALPACA WOOL BROWN AW-5-16 V 34% EGYPTIAN COTTON, 31% PERUVIAN BABY ALPACA, 19% COTTON, 16% RAYON S N/A 3 ALPACA WOOL CHARCOAL AW-5-22 V 34% EGYPTIAN COTTON, 31% PERUVIAN BABY ALPACA, 19% COTTON, 16% RAYON S N/A 4 ALPACA WOOL CREAM AW-5-10 V 34% EGYPTIAN COTTON, 31% PERUVIAN BABY ALPACA, 19% COTTON, 16% RAYON S N/A 5 ALPACA WOOL ESPRESSO AW-5-18 V 34% EGYPTIAN COTTON, 31% PERUVIAN BABY ALPACA, 19% COTTON, 16% RAYON S N/A 6 ALPACA WOOL GRAY AW-5-20 V 34% EGYPTIAN COTTON, 31% PERUVIAN BABY ALPACA, 19% COTTON, 16% RAYON S N/A 7 ALPACA WOOL SAND AW-5-14 V 34% EGYPTIAN COTTON, 31% PERUVIAN BABY ALPACA, 19% COTTON, 16% RAYON S N/A 8 CLASSIC CHENILLE BEIGE CC-1-12 I 100% POLYESTER S N/A 9 CLASSIC CHENILLE BROWN CC-1-16 I 100% POLYESTER S N/A 10 CLASSIC CHENILLE CHARCOAL CC-1-22 I 100% POLYESTER S N/A 11 CLASSIC CHENILLE CREAM CC-1-10 I 100% POLYESTER S N/A 12 CLASSIC CHENILLE ESPRESSO CC-1-18 I 100% POLYESTER S N/A 13 CLASSIC CHENILLE GRAY CC-1-20 I 100% POLYESTER S N/A 14 CLASSIC CHENILLE SAND CC-1-14 I 100% POLYESTER S N/A 15 EPIC CREAM E-3-10 III 100% POLYESTER S N/A 16 EPIC GRAY E-3-20 III 100% POLYESTER S N/A 17 EPIC INDIGO E-3-92 III 100% POLYESTER S N/A 18 EPIC CITRON E-3-94 III 100% POLYESTER S N/A 19 EPIC TANGERINE E-3-93 III 100% POLYESTER S N/A 20 EPIC CRIMSON E-3-90 III 100% POLYESTER S N/A 21 EUROPEAN WOVEN BEIGE EW-3-12 III 42% POLYESTER, 58% VISCOSE S N/A 22 EUROPEAN WOVEN BROWN EW-3-16 III 42% POLYESTER, 58% VISCOSE S N/A 23 EUROPEAN WOVEN CHARCOAL EW-3-22 III 42% POLYESTER, 58% VISCOSE S N/A 24 EUROPEAN WOVEN CREAM EW-3-10 III 42% POLYESTER, 58% VISCOSE S N/A 25 EUROPEAN WOVEN ESPRESSO EW-3-18 III 42% POLYESTER, 58% VISCOSE S N/A 26 EUROPEAN WOVEN GRAY EW-3-20 III 42% POLYESTER, 58% VISCOSE S N/A 27 EUROPEAN WOVEN SAND EW-3-14 III 42% POLYESTER, 58% VISCOSE S N/A 28 FLAT WOVEN BEIGE FW-1-12 I 58% POLYESTER, 42% ACRYLIC S N/A 29 FLAT WOVEN BROWN FW-1-16 I 58% POLYESTER, 42% ACRYLIC S N/A 30 FLAT WOVEN CHARCOAL FW-1-22 I 58% POLYESTER, 42% ACRYLIC S N/A 31 FLAT WOVEN CREAM FW-1-10 I 58% POLYESTER, 42% ACRYLIC S N/A 32 FLAT WOVEN ESPRESSO FW-1-18 I 58% POLYESTER, 42% ACRYLIC S N/A 33 FLAT WOVEN GRAY FW-1-20 I 58% POLYESTER, 42% ACRYLIC S N/A 34 FLAT WOVEN SAND FW-1-14 I 58% POLYESTER, 42% ACRYLIC S N/A 35 HERO CITRON H-1-94 I 63% POLYESTER, 37% ACRYLIC S N/A 36 HERO TANGERINE H-1-93 I 63% POLYESTER, 37% ACRYLIC S N/A 37 HERO CRIMSON H-1-90 I 63% POLYESTER, 37% ACRYLIC S N/A 38 HERO INDIGO H-1-92 I 63% POLYESTER, 37% ACRYLIC S N/A 39 HERO CHARCOAL H-1-22 I 63% POLYESTER, 37% ACRYLIC S N/A 40 HERO GRAY H-1-20 I 63% POLYESTER, 37% ACRYLIC S N/A 41 HERO CREAM H-1-10 I 63% POLYESTER, 37% ACRYLIC S N/A 42 HERO ESPRESSO H-1-18 I 63% POLYESTER, 37% ACRYLIC S N/A 43 INTERLUDE GRAY I-3-20 III 44% POLYESTER, 39% ACRYLIC, 17% WOOL WS N/A 44 INTERLUDE CHARCOAL I-3-22 III 44% POLYESTER, 39% ACRYLIC, 17% WOOL WS N/A 45 ITALIAN CLASSIC BEIGE IC-3-12 III 45% ACRYLIC, 33% POLYESTER, 22% WOOL S N/A 46 ITALIAN CLASSIC BROWN IC-3-16 III 45% ACRYLIC, 33% POLYESTER, 22% WOOL S N/A 47 ITALIAN CLASSIC CHARCOAL IC-3-22 III 45% ACRYLIC, 33% POLYESTER, 22% WOOL S N/A 48 ITALIAN CLASSIC CREAM IC-3-10 III 45% ACRYLIC, 33% POLYESTER, 22% WOOL S N/A 49 ITALIAN CLASSIC ESPRESSO IC-3-18 III 45% ACRYLIC, 33% POLYESTER, 22% WOOL S N/A 50 ITALIAN CLASSIC GRAY IC-3-20 III 45% ACRYLIC, 33% POLYESTER, 22% WOOL S N/A 51 ITALIAN CLASSIC SAND IC-3-14 III 45% ACRYLIC, 33% POLYESTER, 22% WOOL S N/A 52 LEGATO CRIMSON L-3-90 III 56% RAYON, 35% COTTON, 9% FLAX S H .250", V .250" 53 LEGATO BEIGE L-3-12 III 56% RAYON, 35% COTTON, 9% FLAX S H .250", V .250" 54 LEGATO GRAY L-3-20 III 56% RAYON, 35% COTTON, 9% FLAX S AMERICANH .250", V .250" LEATHER " americanleather.com Rev. 10.14.17 7 PATTERN NAME COLOR NAME CODE GRADE CONTENT CLEAN CODE REPEAT 1 ALPACA WOOL BEIGE AW-5-12 V 34% EGYPTIAN COTTON, 31% PERUVIAN BABY ALPACA, 19% COTTON, 16% RAYON S N/A 2 ALPACA WOOL BROWN AW-5-16 V 34% EGYPTIAN COTTON, 31% PERUVIAN BABY ALPACA, 19% COTTON, 16% RAYON S N/A 3 ALPACA WOOL CHARCOAL AW-5-22 V 34% EGYPTIAN COTTON, 31% PERUVIAN BABY ALPACA, 19% COTTON, 16% RAYON S N/A 4 ALPACA WOOL CREAM AW-5-10 V 34% EGYPTIAN COTTON, 31% PERUVIAN BABY ALPACA, 19% COTTON, 16% RAYON S N/A 5 ALPACA WOOL ESPRESSO AW-5-18 V 34% EGYPTIAN COTTON, 31% PERUVIAN BABY ALPACA, 19% COTTON, 16% RAYON S N/A 6 ALPACA WOOL GRAY AW-5-20 V 34% EGYPTIAN COTTON, 31% PERUVIAN BABY ALPACA, 19% COTTON, 16% RAYON S N/A 7 ALPACA WOOL SAND AW-5-14 V 34% EGYPTIAN COTTON, 31% PERUVIAN BABY ALPACA, 19% COTTON, 16% RAYON S N/A 8 CLASSIC CHENILLE BEIGE CC-1-12 I 100% POLYESTER S N/A 9 CLASSIC CHENILLE BROWN CC-1-16 I 100% POLYESTER S N/A 10 CLASSIC CHENILLE CHARCOAL CC-1-22 I 100% POLYESTER S N/A 11 CLASSIC CHENILLE CREAM CC-1-10 I 100% POLYESTER S N/A 12 CLASSIC CHENILLE ESPRESSO CC-1-18 I 100% POLYESTER S N/A 13 CLASSIC CHENILLE GRAY CC-1-20 I 100% POLYESTER S N/A 14 CLASSIC CHENILLE SAND CC-1-14 I 100% POLYESTER S N/A 15 EPIC CREAM E-3-10 III 100% POLYESTER S N/A 16 EPIC GRAY E-3-20 III 100% POLYESTER S N/A 17 EPIC INDIGO E-3-92 III 100% POLYESTER S N/A 18 EPIC CITRON E-3-94 III 100% POLYESTER S N/A 19 EPIC TANGERINE E-3-93 III 100% POLYESTER S N/A 20 EPIC CRIMSON E-3-90 III 100% POLYESTER S N/A 21 EUROPEAN WOVEN BEIGE EW-3-12 III 42% POLYESTER, 58% VISCOSE S N/A 22 EUROPEAN WOVEN BROWN EW-3-16 III 42% POLYESTER, 58% VISCOSE S N/A 23 EUROPEAN WOVEN CHARCOAL EW-3-22 III 42% POLYESTER, 58% VISCOSE S N/A 24 EUROPEAN WOVEN CREAM EW-3-10 III 42% POLYESTER, 58% VISCOSE S N/A 25 EUROPEAN WOVEN ESPRESSO EW-3-18 III 42% POLYESTER, 58% VISCOSE S N/A 26 EUROPEAN WOVEN GRAY EW-3-20 III 42% POLYESTER, 58% VISCOSE S N/A 27 EUROPEAN WOVEN SAND EW-3-14 III 42% POLYESTER, 58% VISCOSE S N/A 28 FLAT WOVEN BEIGE FW-1-12 I 58% POLYESTER, 42% ACRYLIC S N/A 29 FLAT WOVEN BROWN FW-1-16 I 58% POLYESTER, 42% ACRYLIC S N/A 30 FLAT WOVEN CHARCOAL FW-1-22 I 58% POLYESTER, 42% ACRYLIC S N/A 31 FLAT WOVEN CREAM FW-1-10 I 58% POLYESTER, 42% ACRYLIC S N/A 32 FLAT WOVEN ESPRESSO FW-1-18 I 58% POLYESTER, 42% ACRYLIC S N/A 33 FLAT WOVEN GRAY FW-1-20 I 58% POLYESTER, 42% ACRYLIC S N/A 34 FLAT WOVEN SAND FW-1-14 I 58% POLYESTER, 42% ACRYLIC S N/A 35 HERO CITRON H-1-94 I 63% POLYESTER, 37% ACRYLIC S N/A 36 HERO TANGERINE H-1-93 I 63% POLYESTER, 37% ACRYLIC S N/A 37 HERO CRIMSON H-1-90 I 63% POLYESTER, 37% ACRYLIC S N/A 38 HERO INDIGO H-1-92 I 63% POLYESTER, 37% ACRYLIC S N/A 39 HERO CHARCOAL H-1-22 I 63% POLYESTER, 37% ACRYLIC S N/A 40 HERO GRAY H-1-20 I 63% POLYESTER, 37% ACRYLIC S N/A 41 HERO CREAM H-1-10 I 63% POLYESTER, 37% ACRYLIC S N/A 42 HERO ESPRESSO H-1-18 I 63% POLYESTER, 37% ACRYLIC S N/A 43 INTERLUDE GRAY I-3-20 III 44% POLYESTER, 39% ACRYLIC, 17% WOOL WS N/A 44 INTERLUDE CHARCOAL I-3-22 III 44% POLYESTER, 39% ACRYLIC, 17% WOOL WS N/A AMERICAN45 ITALIAN CLASSIC BEIGE IC-3-12 III 45% ACRYLIC, 33% POLYESTER, 22% WOOL S N/A 46 ITALIAN CLASSIC BROWN IC-3-16 III 45% ACRYLIC, 33% POLYESTER, 22% WOOL S N/A LEATHER47 ITALIAN CLASSIC " CHARCOAL IC-3-22 III 45% ACRYLIC, 33% POLYESTER, 22% WOOL S N/A 48 ITALIAN CLASSIC CREAM IC-3-10 III 45% ACRYLIC, 33% POLYESTER, 22% WOOL S N/A 49 ITALIAN CLASSIC ESPRESSO IC-3-18 FabricIII Options -45% Calming ACRYLIC, 33% POLYESTER, Classics 22% WOOL S N/A 50 ITALIAN CLASSIC GRAY IC-3-20 III 45% ACRYLIC, 33% POLYESTER, 22% WOOL S N/A 51 ITALIANPATTERN CLASSIC NAME COLORSAND NAME IC-3-14CODE GRADEIII 45% ACRYLIC, 33%CONTENT POLYESTER, 22% WOOL CLEANS CODE REPEATN/A 521 ALPACALEGATO WOOL CRIMSONBEIGE AW-5-12L-3-90 IIIV 34% EGYPTIAN COTTON,56% 31% RAYON, PERUVIAN 35% BABYCOTTON, ALPACA, 9% FLAX 19% COTTON, 16% RAYON S H .250",N/A V .250" 532 ALPACALEGATO WOOL BROWNBEIGE AW-5-16L-3-12
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    A Quick Tour Through the Last Century of Fashion Women begin to wear looser, lighter-weight clothing. A popular style is 1900s a starched white blouse, with a dark blue or black ascot scarf, and a long, full skirt. The “Gibson Girl” look – independent, athletic, poised, intelligent, yet feminine – is created by illustrator Charles Dana Gibson. Women’s hair is worn high on the head. It begins to become acceptable for women to uncover more parts of their body, although a skirt three inches above the ground is considered scandalous. World War I. Fashions are conservative, with women’s clothes following 1910s more or less natural body lines. Women are asked not to wear corsets (the stays were often made of steel, which was needed for the war effort), and replace them with girdles. The end of World War I brings new freedom. Women also gain the right 1920s to vote. The flapper, boyish look takes over. Women cut their hair short, into a “bob.”They bare their legs, with dresses that are straight, unfitted, and end at or a little above the knee. Maturity ceases to be in fashion for men and women; there’s an emphasis on a more youthful, almost childish look. For example, men’s clothing is no longer designed to make them look as large and powerful as possible, but slimmer and younger. The Depression. Seriousness and maturity are back, and reflected in 1930s heavier styles (e.g. men’s pants are cut fuller) and darker colors. Skirts are longer, and styles follow a woman’s figure, with graceful curves and lines.
  • Downloading Or Purchasing Online Through Our Website

    Downloading Or Purchasing Online Through Our Website

    Improved Preservation and Early Stage Processing of Australian Crocodile Skins A report for the Rural Industries Research and Development Corporation by Stephen Hawkins and Chi Huynh CSIRO Textile and Fibre Technology December 2004 RIRDC Publication No 04/164 RIRDC Project No CWT-3A © 2004 Rural Industries Research and Development Corporation. All rights reserved. ISBN 1 74151 073 2 ISSN 1440-6845 ‘Improved Preservation and Early Stage Processing of Australian Crocodile Skins’ Publication No. 04/164 Project No. CWT-3A The views expressed and the conclusions reached in this publication are those of the author and not necessarily those of persons consulted. RIRDC shall not be responsible in any way whatsoever to any person who relies in whole or in part on the contents of this report. This publication is copyright. However, RIRDC encourages wide dissemination of its research, providing the Corporation is clearly acknowledged. For any other enquiries concerning reproduction, contact the Publications Manager on phone 02 6272 3186. Researcher Contact Details Dr. Stephen C Hawkins CSIRO Textile and Fibre Technology, PMB 10, Clayton MDC, Victoria 3168 Phone: 03 9545 2364 Fax: 03 9545 2363 Email: [email protected] In submitting this report, the researcher has agreed to RIRDC publishing this material in its edited form. RIRDC Contact Details Rural Industries Research and Development Corporation Level 1, AMA House 42 Macquarie Street BARTON ACT 2600 PO Box 4776 KINGSTON ACT 2604 Phone: 02 6272 4819 Fax: 02 6272 5877 Email: [email protected] Website: http://www.rirdc.gov.au Published in December 2004 Printed on environmentally friendly paper by Canprint Foreword The skin of the Australian saltwater crocodile, (Crocodylus porosus) reputedly produces the best quality crocodile leather in the world.
  • Alligator & Crocodile Skin Preparation for Tanning Getting Started

    Alligator & Crocodile Skin Preparation for Tanning Getting Started

    Alligator & Crocodile Skin Preparation for Tanning This page is not a basic guide on how to skin an alligator, but we can offer a summary of skinning steps, tips on how to best care for alligator skins, and explain why careful skinning and scraping is important. The proper care of alligator skins begins as soon as the animal is harvested. Here are some helpful tips: Skinning should take place as soon after the harvest as practical. Avoid direct sun or heat on the carcass or skin whenever possible. Keep skin away from blood, entrails, or other contact with dirty surfaces where more bacteria could get into the skin. Always skin carefully avoiding the creation of holes or cuts in the belly pattern. Scrape excess meat and fat from the underside of the skin with blunt knives, paint scrapers, beveled pipes or other dull tools. Removing meat and fat from the skin is very important because of the time necessary to store and ship alligator skins for tanning. This often takes several months and excess meat helps bacteria multiply leading to "red heat" or "slipping" skins. If excess fat is not removed it can prevent salt from properly penetrating the skin. Also, if the fat heats up, it can penetrate the skin and leave grease spots on the finished leather. The purpose of curing alligator skins is to remove moisture from the skin so it can be better preserved before tanning. o A fine grain mixing salt works best and should be applied generously (1/2 to 1 inch thick) and rubbed into all parts of the skin.
  • Export Markets for Skins and Leather for Australia’S Camel, Crocodile, Emu and Goat Industries

    Export Markets for Skins and Leather for Australia’S Camel, Crocodile, Emu and Goat Industries

    Export Markets for Skins and Leather for Australia’s camel, crocodile, emu and goat industries A report for the Rural Industries Research and Development Corporation by Brendan Goulding, Elysa Riedel, Andrea Bevan, Bronwyn Warfield June 2007 RIRDC Publication No 07/089 RIRDC Project No DAQ-312A © 2007 Rural Industries Research and Development Corporation. All rights reserved. ISBN 1 74151 486 X ISSN 1440-6845 Commercial Development of Export Markets for Emerging Skin Industries Publication No. 07/089 Project No. DAQ-312A The information contained in this publication is intended for general use to assist public knowledge and discussion and to help improve the development of sustainable regions. You must not rely on any information contained in this publication without taking specialist advice relevant to your particular circumstances. While reasonable care has been taken in preparing this publication to ensure that information is true and correct, the Commonwealth of Australia gives no assurance as to the accuracy of any information in this publication. The Commonwealth of Australia, the Rural Industries Research and Development Corporation (RIRDC), the authors or contributors expressly disclaim, to the maximum extent permitted by law, all responsibility and liability to any person, arising directly or indirectly from any act or omission, or for any consequences of any such act or omission, made in reliance on the contents of this publication, whether or not caused by any negligence on the part of the Commonwealth of Australia, RIRDC, the authors or contributors.. The Commonwealth of Australia does not necessarily endorse the views in this publication. This publication is copyright. Apart from any use as permitted under the Copyright Act 1968, all other rights are reserved.