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Spring Twenty Two Women's Headwear
SPRING 2022 SPRING TWENTY TWO WOMEN’S HEADWEAR & APPAREL DONE PROPER NH SPRING 2022 WOMEN THIS SEASON WE CELEBRATE THE NEW EXPLORERS. THE COLLECTION IS INSPIRED BY VINTAGE MILITARY AND WORKWEAR SILHOUETTES, BLENDED WITH SPRING THE JOYFUL RETRO AESTHETIC OF THE 1970’S. WOMEN 2022 WITH A PALETTE OF CLASSIC SEASONAL COLORS AND PRINTS, WE SET OUT TO DESIGN A RANGE THAT BALANCES STYLE THAT IS AT HOME ON CITY STREETS, OR THE ROADS LESS TRAVELED. SPRING 2022 2 SPRING 2022 3 RANCHER COLLECTION JO RANCHER RANCHER COLLECTION SPRING 2022 4 SPRING 2022 5 JO STRAW RANCHER RANCHER COLLECTION A NEW ICON | ELEGANT SILHOUETTE | PREMIUM DETAILS SPRING 2022 6 SPRING 2022 7 RENO FEDORA RANCHER COLLECTION REFINED AND RESPONSIBLY SOURCED | PREMIUM DETAILS AND FINISHES SPRING 2022 8 SPRING 2022 9 JO RANCHER RANCHER COLLECTION THE RANCHER REBORN | CRUELTY-FREE WOOL CONSTRUCTION SPRING 2022 10 SPRING 2022 11 JO RANCHER (10cm/4” Brim) XS-S-M-L (6_-7-7_-7_) • 100% wool felt • Metal headwear plaque • Adjustable Velcro strap under sweatband • Grosgrain outside band and brim taping DOVE WASHED NAVY/NAVY *BLACK 11035-DOVE 11035-WSNVY 11035-BLACK RANCHER COLLECTION BRASS 11035-BRASS PRODUCT PAGE JOANNA FELT HAT (10cm/4” Brim) XS-S-M-L (6_-7-7_-7_) • 100% wool felt • Grosgrain band • Metal headwear plaque • Adjustable Velcro strap under sweatband *BLACK PHOENIX ORANGE MOJAVE 10783-BLACK 10783-PHEOR 10783-MOJAV SPRING 2022 12 SPRING 2022 13 JOANNA PACKABLE HAT DUKE COWBOY HAT (7.5cm/3.5” Brim) (7.5cm/3” Brim) XS-S-M-L (6_-7-7_-7_) XS-S-M-L-XL (6¾-7-7¼-7½-7¾) • 100% wool felt • 100% wool felt • Grosgrain band • 5mm Grosgrain band • Metal headwear plaque • Metal headwear plaque • Adjustable Velcro strap under • D2 sweatband *BLACK MERMAID CASA BLANCA BLUE *BLACK COFFEE 10628-BLACK 10628-MERMD 10628-CABLB 10998-BLACK 10998-COFFE RENO FEDORA COHEN COWBOY (9cm/3. -
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. -
All-Time Favorites
S W E A Jersey Cardigan Sweaters T E · Fabric: 100% pill-resistant acrylic R · Dyed-to-match buttons S · Reinforced stress areas All-time favorites · Elasticized rib-trim cuffs and bottom for shape retention 5912 Soft sweaters with staying power · Machine wash and dry 1970 Jersey Crewneck Cardigan (Female) · Full button-down front · No pockets Colors: Black, Brown, Cardinal, Green, Grey Heather, Lipstick, Mayfair, Mulberry, Navy, Spruce Green, White, Wine 1970 Sizes: Youth XXSY-XLY, Adult SA-3XLA 6305 Jersey V-Neck Cardigan · 5 buttons · No pockets 6305 Color: Navy Sizes: Youth XXSY-XLY, Adult SA-3XLA 5912 Two-Pocket Jersey V-Neck Cardigan · 5 buttons · Hemmed bottom Colors: Black, Brown, Cardinal, Charcoal Heather, Green, Grey Heather, Khaki, 5910 Lipstick, Mayfair, Mulberry, Nally Powder Blue, Navy, Purple, Spruce Green, White, Wine, Yellow Sizes: Youth XXSY-XLY, Adult SA-3XLA 5910 Jersey V-Neck Cardigan Vest · 4 buttons · No pockets Color: Navy Sizes: Youth XXSY-XLY, Adult SA-3XLA Our cozy sweaters and vests offer timeless styling and a consistent, dependable fit. Made from wear-tested yarns, Schoolbelles sweaters are Black Brown Cardinal both wonderfully soft and incredibly durable. They pair perfectly with Charcoal Green Grey Heather our polos or button-up shirts. For extra identity, add your school logo. Heather Khaki Lipstick Mayfair Nally Mulberry Navy Powder Blue Purple Spruce Green White Wine Yellow 6 7 schoolbelles.com | 1-888-637-3037 Schoolbelles School Uniforms S Jersey Pullover Sweaters W E 1995 Jersey Crewneck Long-Sleeve -
An Empirical Assessment of the Relationship Of
An International Multidisciplinary Journal, Ethiopia Vol. 7 (2), Serial No. 29, April, 2013:350-370 ISSN 1994-9057 (Print) ISSN 2070--0083 (Online) DOI: http://dx.doi.org/10.4314/afrrev.7i2.22 Adire in South-western Nigeria: Geography of the Centres Areo, Margaret Olugbemisola- Department of Fine and Applied Arts, Ladoke Akintola University of Technology, P. M. B 4000, Ogbomoso, Nigeria E-mail; [email protected] & Kalilu, Razaq Olatunde Rom - Department of Fine and Applied Arts, Ladoke Akintola University of Technology, P. M. B 4000, Ogbomoso, Nigeria E-mail; [email protected] Abstract Adire, the patterned dyed cloth is extant and is practiced in almost all Yoruba towns in Southwestern Nigeria. The art tradition is however preponderant in a few Yoruba towns to the extent that the names of these towns are traditionally inseparable with the Adire art tradition. With Western education, introduction of foreign religions, influence from other cultures, technique and technology, there is a shift in the producers of Adire, the training pattern, and even an evolution in the production centre. While Western education resulted in a shift from the hitherto traditional Copyright© IAARR 2013: www.afrrevjo.net 350 Indexed African Journals Online: www.ajol.info Vol. 7 (2) Serial No. 29, April, 2013 Pp.350-370 apprenticeship method to the study of the art in schools, unemployment gave birth to the introduction of training drives by government and non governmental parastatals. This study, a field research, is an appraisal of the factors that contributed to the vibrancy of the traditionally renowned centres, and how the newly evolved centres have in contemporary times contributed to the sustainability of the Adire art tradition. -
I Was Tempted by a Pretty Coloured Muslin
“I was tempted by a pretty y y coloured muslin”: Jane Austen and the Art of Being Fashionable MARY HAFNER-LANEY Mary Hafner-Laney is an historic costumer. Using her thirty-plus years of trial-and-error experience, she has given presentations and workshops on how women of the past dressed to historical societies, literary groups, and costuming and re-enactment organizations. She is retired from the State of Washington . E E plucked that first leaf o ff the fig tree in the Garden of Eden and decided green was her color, women of all times and all places have been interested in fashion and in being fashionable. Jane Austen herself wrote , “I beleive Finery must have it” (23 September 1813) , and in Northanger Abbey we read that Mrs. Allen cannot begin to enjoy the delights of Bath until she “was provided with a dress of the newest fashion” (20). Whether a woman was like Jane and “so tired & ashamed of half my present stock that I even blush at the sight of the wardrobe which contains them ” (25 December 1798) or like the two Miss Beauforts in Sanditon , who required “six new Dresses each for a three days visit” (Minor Works 421), dress was a problem to be solved. There were no big-name designers with models to show o ff their creations. There was no Project Runway . There were no department stores or clothing empori - ums where one could browse for and purchase garments of the latest fashion. How did a woman achieve a stylish appearance? Just as we have Vogue , Elle and In Style magazines to keep us up to date on the most current styles, women of the Regency era had The Ladies Magazine , La Belle Assemblée , Le Beau Monde , The Gallery of Fashion , and a host of other publications (Decker) . -
A Comparison of the Patterns Formed by Primary Textile Structures and Their Photographic Abstraction
Rochester Institute of Technology RIT Scholar Works Theses 9-22-1976 A comparison of the patterns formed by primary textile structures and their photographic abstraction Pamela Perlman Follow this and additional works at: https://scholarworks.rit.edu/theses Recommended Citation Perlman, Pamela, "A comparison of the patterns formed by primary textile structures and their photographic abstraction" (1976). Thesis. Rochester Institute of Technology. Accessed from This Thesis is brought to you for free and open access by RIT Scholar Works. It has been accepted for inclusion in Theses by an authorized administrator of RIT Scholar Works. For more information, please contact [email protected]. Thesis Proposal for the Master of Fine Arts De gree Collee;e of Fine and Applj_ed .Arts Rochester Institute of Technology Title: A Comparison of the Fatterns Formed by Primary Textile structures and their Phot ographic Abstraction Submitted by: Pamela Anne Perlman Date: September 22, 1976 Thesis Co mm it te~: Nr . Donald Du jnowski I-Ir. I,l az Lenderman hr. Ed 1iiller Depart~ental Approval : Date :-:--g---li6~-r-71-b-r-/ ----- ---------~~~~~'~~~r------------------------- Chairman of the School for American Craftsme:l: ___-r-----,,~---- ____ Da t e : ---.:...,'?7~JtJ--J7~i,-=-~ ___ _ Chairr.ian of the Gr3.duate Prog:rarn: ------------------------~/~~/~. --- Date: ___________________~ /~~,~~;j~~, (~/_' ~i~/~: 7 / Final Committee Decision: Date: ----------------------- Thesis Proposal for the Master of Fine Arts Degree College of Fine and Applied Arts Rochester Institute of Technology Title: A Comparison of the Patterns Frmed by Primary Textile Structures and their Photographic Abstraction My concern in textiles is with structure and materials. I v/ould like to do v/all hangings based on primary textile structures such as knotting, looping, pile, balanced weaves, and tapestry. -
Fibres & Fabrics
BrIefInG fibres & fabrics By philippa watkIns European textiles are a strong force again. Their creativity and inventiveness, which has kept growing despite the years of difficulties and still prevailing uncertainties, is helping them out of crisis. Fabric Fairs such as MFS, Milano Unica and Première Vision were busy, maintaining the increase in visitors noted a year ago – even London’s little Textile Forum was buzzing with visitors. PV and Expofil recorded 53,065 visitors overall with EU visitors now accounting for 70%. Visitors from the US, whose economy has been showing signs of recovery, accounted for 5% and there was a surge in Asian visitors, mostly from Japan, South Korea and China. With buyers showing such interest, exhibitors were cautiously optimistic. Notable also are new techniques, and sheer craftsmanship, which create both a new PV Awards aesthetic as well as greater ‘sustainability’. There’s an air of responsibility, as the with a twist, masculine look. These fabrics industry works towards more sustainable are also printed – often in huge prints, and production. Use of water, for instance, is a double faced reversing print to plain. Italian serious issue, and new ways of water and Ratti, for instance, had a new ‘scuba’ cloth chemical free finishing are making headway – in a crêpe-type quality made with crêpe such as digital printing and laser technology. yarns, also printed, and Menta, always Even more spectacular is the development experimenting with extraordinary printing of new ways of finishing through ‘plasma’ techniques, had printed ribbed spacers. technology – one to really watch. While these fabrics have smooth volume, they are not flat – in fact nothing is quite PV AWArDs 2014 Trend area at Milano Unica flat. -
Confidential the District Solicitied 401 Suppliers and Received 9 Responses
BID TABULATION GARLAND INDEPENDENT SCHOOL DISTRICT Auction Title:168-20 Bid Rfq Softball Uniforms & Num:32339 Equipment *Confidential Ln # Award (Y/N) Reason Item Description Quantity UOM Supplier Price Extended Price 1 NA Dudley Thunder Heat Yellow Softballs 40 DZ SCHOOL SPECIALTY INC NB NB with Red stitching & NFHS STAMP #WT12YFP, core .47 – 12”, no subs district game ball Y PYRAMID SCHOOL PRODUCTS 62.00 2,480.00 AMERICA TEAM SPORTS 64.00 2,560.00 VARSITY BRANDS HOLDINGS CO 69.91 2,796.40 INC DAN CAREYS SPORTING GOODS 72.00 2,880.00 LTD *PRO PLAYER SUPPLY 83.97 3,358.80 2 NA Charcoal Badger Hooded Sweatshirt 15 ST SCHOOL SPECIALTY INC NB NB #1254 with two color lettering & pant #1277 open bottom no lettering, lettering & sizes to follow when order is placed, no subs fill-ins Y AMERICA TEAM SPORTS 34.00 510.00 RIDDELL ALL AMERICAN 34.45 516.75 DAN CAREYS SPORTING GOODS 38.57 578.55 LTD VARSITY BRANDS HOLDINGS CO 44.00 660.00 INC ROBIN BAUGH 45.00 675.00 *PRO PLAYER SUPPLY 46.95 704.25 3 NA Badger Hooded Sweatshirt #125400 & 10 ST SCHOOL SPECIALTY INC NB NB pant #147800 with two color lettering on sweatshirt & right leg of pant, sizes to follow when order is placed, no subs fill- ins Y AMERICA TEAM SPORTS 42.50 425.00 DAN CAREYS SPORTING GOODS 52.56 525.60 LTD ROBIN BAUGH 53.00 530.00 *PRO PLAYER SUPPLY 53.96 539.60 VARSITY BRANDS HOLDINGS CO 56.00 560.00 INC 4 NA Royal Blue Badger Hooded Sweatshirt 22 ST SCHOOL SPECIALTY INC NB NB #125400 & pant #147800 with "Colonel" "Softball" & "SG" "Softball" on pant in white, sizes to follow when -
Pricelist for : Web - Standard Jan 2020 - Valid Until Mar 15 2020
Pricelist for : Web - Standard Jan 2020 - Valid until Mar 15 2020 Prices include base fabric and digital printing. No setup/ hidden costs. Prices inc VAT Create your fabric today at www.fashion-formula.com Natural Fibres Fabric Code Fabric Name Composition Colour Weight Face Popular For Width (mm) Sample FQ 40 - 300 m 20-39m 10-19m 4-9m 1-3m CF001 SATIN 100% COTTON White 240 Satin ✂️ 1350 £3.25 £12.80 £20.65 £21.90 £26.25 £30.00 £33.15 CF002 DRILL 100% COTTON White 250 Twill ✂️ 1400 £3.25 £10.00 £18.75 £21.25 £22.50 £27.50 £29.40 CF004 POPLIN 100% COTTON White 130 Plain ✂️ 1400 £3.25 £12.00 £20.65 £22.50 £26.25 £27.50 £30.00 CF005 PANAMA 100% COTTON White 210 Panama ✂️ 1400 £3.25 £12.00 £19.40 £20.65 £21.90 £27.50 £30.00 CF006 LIGHT TWILL 100% COTTON White 210 Twill ✂️ 1400 £3.25 £11.60 £20.00 £21.25 £22.50 £25.65 £28.70 CF007 TOP SATEEN 100% COTTON White 170 Satin ✂️ 1350 £3.25 £11.60 £20.65 £22.50 £25.00 £28.75 £30.65 CF008 MELINO LINEN 93% CO 7% LINEN White 228 Panama ✂️ 1350 £3.25 £12.40 £20.65 £22.50 £25.00 £29.40 £31.90 CF009 LIMANI LINEN 90% CO 10% LINEN White 250 Panama ✂️ 1350 £3.25 £12.80 £23.15 £26.25 £30.00 £32.50 £35.00 CF011 CALICO COTTON 100% COTTON White 155 Plain ✂️ 1400 £3.25 £8.00 £16.25 £18.15 £20.00 £21.90 £23.75 GOTS ORGANIC CF014 COTTON PANAMA 100% COTTON Natural 309 Panama ✂️ 1400 £3.25 £12.00 £20.65 £22.50 £25.00 £28.75 £31.90 NATURAL CF016 HEAVY DENIM 100% COTTON White 395 Twill ✂️ 1400 £3.25 £12.80 £23.15 £26.25 £28.75 £31.25 £32.25 CF017 COTTON SLUB 100% COTTON White 150 Slub -
Checklist for Textiles U.S.A
THE MUSEUM OF MODERN ART 11 WEST 53 STREET, NEW YORK 19, N. Y. TELEPHONE: CIRCLE 5-8900 No. &• TENTATIVE AND CONFIDENTIAL CHECKLIST FOR TEXTILES U.S.A. Home Furnishings Category Anderson Studio of Handweaving - East Gloucester, Massachusetts. Drapery material. Cotton, viscose and Jute. Designed by Beatrice Anderson, 1951*. Thelma Becherer - West Franklin, New Hampshire. Tapestry. Handwoven of green, yellow and clear "velon" plastic, with dried horsetails and cattails. Plain weave. 1956. Monica Bella Broner, Tapestry. "Fur Weave." Wool, cotton and fur strips, 195^• Bill Carter and Dodie Childs - Chicago, Illinois. Roll Shade, Handwoven matchstick bamboo across multicolored and textured cotton, wool and metallic yarn warp, 1955* Arundell Clarke Drapery fabric. "Strocm Draden". Handscreened white print on trans parent white silk. Designed by Pierre Kleykamp, 1955. Drapery fabric, "Primitive Forms." Handscreened black print on brown cotton. Designed by Baldwin-Machado, 1950, Drapery fabric. "10,000 B.C." Cotton jacquard, charcoal on white. Designed by Naomi Raymond, 1952. Cohn-Hall-Marx Co, (For Colvin, see Bertha Schaefer Callery - Page 3.) Upholstery fabric, Saran and metal, novelty weave. Brown, 1955. Fazakas Fabrics, Inc. Drapery fabric, "Hit & Miss," Black spray on white cotton batiste, Designed by DoneIda Fazakas, 1950, Qeraldine Punk - Lancaster, Pennsylvania, Window ahade, Handwoven red and rust cotton and rayon warp. Banana bark and coconut cord weft. 1950, Screen, Handwoven in Puerto Rico, White string warp,, white jnaguey and coconut sliver weft, 19^8, % Ginstrom - Cedar Falls, Iowa. Screen. "Scallops." Handwoven, handtied openwork; all linen panel. 1955. folding Decorative Fabrics. Drapery fabric. "Torero-Vermilion 33." Silk screened cotton sateen. Designed by Otto and Grete Wollner,1955» LiUy E. -
Trend Collection 14/15 Winter Denim
WINTER DENIM TREND COLLECTION 14/15 WINTER DENIM TREND COLLECTION 14/15 4 INSPIRATION A NEW COLLECTION AND A NEW MACHINE LOOK FOR THE WORLD OF DENIM After the great response to our first denim collection Spring/Summer 2014, we took on the challenge to create a collection of wintery denim knits for Autumn/Winter 2014/15. The novelty of the current collection is based on extraordinary pattern techniques but also the combination of seasonal mixed materials, merino wool connects in this context with indigo-dyed cotton. This is unparalleled in the denim industry. The outcomes are soft and warm fabrics, which still reflect the classic denim look. This approach has not been seen before and opens up a whole new variety of applications. As STOLL celebrates its 140th anniversary this year, some of the looks represent this event. Our Certificate of Incorporation is lasered onto an indigo seamless top and the STOLL devoré-technique quotes our 140 years of history. Most of the creations in this collection would not have been possible without the new STOLL ADF technology. To highlight the importance of this technology and how it contributes to the denim industry we have dressed the ADF machine in a new denim look with a unique signature. 5 6 1310080 / CMS ADF-3 MULTI GAUGE / E 7.2 Felted jacket with denim inserts and striped 2-colour inverse plated float jacquard transfer structure in 1x1 technique 7 1310127 / CMS 822 HP MULTI GAUGE / E 7.2 STOLL-KNIT AND WEAR® Jersey long pullover with knitted-on patch pockets 9 1310056 / CMS ADF-3 / E 12 Fully Fashion pullover in argyle Intarsia pattern with 29 (31) yarn carriers; tubular cuffs with curled edges and shoulder straps in Stoll-multi gauges®. -
A Review Report on Traditional Textile Wears in Bangladesh
769 International Journal of Progressive Sciences and Technologies (IJPSAT) ISSN: 2509-0119. © 2020 International Journals of Sciences and High Technologies http://ijpsat.ijsht-journals.org Vol. 22 No. 1 August 2020, pp. 215-224 A Review Report on Traditional Textile Wears in Bangladesh 1MD. Israk Hossain*2Monisha Biswas,3Sharmin Khan Akhi,4Maisha Bente Moshiur,5Nusrat Jahan,6Khadiza Afroz Toma 1(Lecturer, Department of Fashion Design, KCC Women's College affiliated by Khulna University, Khulna, Bangladesh),2,3(UG Scholar,Fashion Design Department,Bangladesh),4,5,6( B.sc in Fashion Design, khulna university, Bangladesh) Abstract – The goal of this study is to identify the traditional Bangladesh wears that are mainly used by the people of this country.To know about the traditional wears of Bangladesh the study is running, that what the fabric of traditional wears are, which wears are include in our tradition, the ethnic‘s traditional wears .I have visited so many locations and have survey on this topic. I have also visited the local markets and places to collect the information. I have found the information of our traditional wears and known how they became as tradition, which people make that statement, which kind of people are still carry this, what kind of fabric they are used etc. Keywords – Tradition wears,muslin,jamdani,rajshahi silk,khadi (key words) I. INTRODUCTION Bangladesh is a very small country, but in its little parts are gathered with hidden treasure what have surprised the A country or a nation or its people are rapidly changed whole world day by day, which maximum credit goes to our day by day through some effective elements like culture, fabric and clothing sectors like Tant,Muslin, Silketc.which language, tradition, region, environment etc.