DOCSLIB.ORG

Athabasca University APRJ-699 Hand Knitting Yarn Industry with Reference to Unique Sources of Supply from Canada

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Athabasca University APRJ-699 Hand Knitting Yarn Industry with Reference to Unique Sources of Supply from Canada Athabasca University APRJ-699 Hand Knitting Yarn Industry with Reference to Unique Sources of Supply from Canada. Prepared By: Igor Pustylnick Coach: Lucien Cortis Date: 04/08/2006 Word Count: 15520 Executive Summary ..............................................................................................4 Introduction ...........................................................................................................7 Goals of Research ................................................................................................8 Industry Composition ............................................................................................9 Sources of Fiber..............................................................................................10 Industrial Fiber Growers...............................................................................10 Small Fiber Growers ....................................................................................12 Artificial Fiber Manufacturers .......................................................................12 Commodity Traders.........................................................................................13 Yarn Mills.........................................................................................................13 Cottage Mills................................................................................................13 Yarn Designers................................................................................................14 Yarn Distributors..............................................................................................14 Knitting Pattern Designers...............................................................................14 Yarn Retail.......................................................................................................15 Knitting Pattern Retail ..................................................................................16 Trade Shows ...................................................................................................16 Individual Consumer........................................................................................16 Value Chain Analysis..........................................................................................17 Yarn Mill Value Chain......................................................................................17 Inbound Logistics.........................................................................................18 Operations ...................................................................................................18 Outbound Logistics......................................................................................18 Sales and Marketing....................................................................................19 Service.........................................................................................................19 Secondary Operations .................................................................................19 Distributor Value Chain ...................................................................................19 Inbound Logistics.........................................................................................20 Operations ...................................................................................................20 Outbound Logistics......................................................................................20 Sales and Marketing....................................................................................20 Service.........................................................................................................21 Secondary Activities ....................................................................................21 Relationship between Chains..........................................................................21 Five Forces Analysis...........................................................................................22 Internal Rivalry ................................................................................................22 Threat of Entry.................................................................................................25 Presence of Substitutes ..................................................................................27 Power of Suppliers ..........................................................................................29 Power of Buyers..............................................................................................30 Conclusion.......................................................................................................32 Industry Issues....................................................................................................33 Child Labor......................................................................................................33 Knowledge Gap...............................................................................................34 Vertical Integration ..........................................................................................34 Gender Conflict ...............................................................................................34 Conclusion.......................................................................................................35 Organizational Concepts.....................................................................................35 Descriptive Elements.......................................................................................35 Competitive Strategies.................................................................................36 Types of Stategies.......................................................................................36 Environmental Uncertainties........................................................................36 Population Ecology......................................................................................37 Internal Framework......................................................................................38 Internal structure..........................................................................................39 Organizational Lifecycle ..................................................................................39 Organizational Culture.....................................................................................39 Conclusion ..........................................................................................................41 Industry Outlook Predictions............................................................................42 Executive Summary Yarn craft is one of the very old crafts. First use of flax yarns was dated sometimes around 3000 B.C. Other natural fibers are also in use for at least 4000 years for the yarn creation. During the industrial revolution yarn industry has obtain its first mechanical spinning tools, making creation of wool and cotton yarns into another successful industry. In the second part of the 20th century yarns from the artificial fibers have become very popular. Their use in hand and machine knitting reshaped the outlook of the industry and involved different participants, such as artificial fiber manufactures. The ease of the machine knitting and inexpensiveness of the finished garments have turned people away from hand knitting. The craft has become stagnant with no new advancements and models. Beginning of the 21st century constitutes the latest surge in knitting. Being preceded with the decades of non-development this surge has shown the areas where North American knitting craft has voids, such as new model creation, teaching of knitting and even the image of knitter itself. Yarn industry, described in the research consists of several major building blocks: • Sources of fiber include industrial growers, who grow natural fiber sources animals or plants for profit, artificial filament manufacturers and small hobby fiber growers • Yarn mills, which produce yarns from all types of fibers • Yarn distributors and agents, who work with the mills to produce and resell yarns • Creative forces, including yarn and pattern creators • Yarn retail, including specialized and non-specialized yarn retailers • Trade shows, which act as retail complement and alternative, creating convenience for retailers and consumers alike. Examination of the industry value chain shows that it is presently broken into two disjointed chains, one for the yarn mill and one for the distributor. The main reason for this is time and financial separation between a mill and a distributor, forcing distributor to become a customer of the mill rather than a part of the outbound logistics. Five forces analysis of the industry shows that this is at the present time a buyer industry. It is driven solely by consumer demand and power of buyer is the strongest. Analysis of distribution component of the industry also showed that distribution in the present shape is very ineffective for both retail and manufacture components. It is predicted that larger number of the smaller dedicated distributors will soon appear. These distributors will be tied to specific manufacturers and will become part of their value chain. The industry will also become a two-tier one. Seller analysis shows that value driven sellers will move their operations into the area of cheap labor in order to achieve internal economies. Driven by the economic approach
Load more

Recommended publications
  • Dear Stitchers, Looking for a Little Inspiration? Color, Texture and Pattern Are All Sparking Our Creativity This Month
    KATHY'S KREATIONS 141 East Main Street Ligonier, PA 15658 724-238-9320 FEBRUARY 2015 UPDATE Dear Stitchers, Looking for a little inspiration? Color, texture and pattern are all sparking our creativity this month. This is the season when we turn inward, embracing those elements that make our home a welcome sanctuary against the longer nights and the chill of winter. Knit and crochet projects using rich colors of comforting yarn, plush textures and a mix of traditionally-inspired patterns all bring a sense of warmth. Color your world and bring substance to your wardrobe this winter! Laid-back outfits are elevated by mixing color and texture. Cozy classics in deep neutral tones create the perfect canvas to express yourself with "let it snow" accessories. TAHKI YARNS tonal cotton-wool blend "Zona" embodies casual elegance. A few bold tones can rejuvenate a neutral base, while keeping the overall palette simple and adjustable. Lightweight MIRASOL "Pagu Pura" 100% alpaca is fashionable without being trendy. Dream up your own combinations. Change it up with your mood. Make it your own. Discover rustic textures in beautiful tweeds and thick-and-thin yarns. Inspired by the notion that opposites attract, rustic textures create drama, depth, and a casual fashion sense with the added spice of luscious texture. Tweeds and marls can be an elegant canvas for your personal style, especially when paired with softer, more luxurious surfaces, from densely woven knits to delicate embroidery. On our shelves, you'll find new shades of BERROCO "Inca Tweed" and ROWAN "Felted Tweed Aran" for toasty mittens, hats and scarves.
    [Show full text]
  • Cuticle and Cortical Cell Morphology of Alpaca and Other Rare Animal Fibres
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Repositorio Institucional Universidad Nacional Autónoma de Chota The Journal of The Textile Institute ISSN: 0040-5000 (Print) 1754-2340 (Online) Journal homepage: http://www.tandfonline.com/loi/tjti20 Cuticle and cortical cell morphology of alpaca and other rare animal fibres B. A. McGregor & E. C. Quispe Peña To cite this article: B. A. McGregor & E. C. Quispe Peña (2017): Cuticle and cortical cell morphology of alpaca and other rare animal fibres, The Journal of The Textile Institute, DOI: 10.1080/00405000.2017.1368112 To link to this article: http://dx.doi.org/10.1080/00405000.2017.1368112 Published online: 18 Sep 2017. Submit your article to this journal Article views: 7 View related articles View Crossmark data Full Terms & Conditions of access and use can be found at http://www.tandfonline.com/action/journalInformation?journalCode=tjti20 Download by: [181.64.24.124] Date: 25 September 2017, At: 13:39 THE JOURNAL OF THE TEXTILE INSTITUTE, 2017 https://doi.org/10.1080/00405000.2017.1368112 Cuticle and cortical cell morphology of alpaca and other rare animal fibres B. A. McGregora and E. C. Quispe Peñab aInstitute for Frontier Materials, Deakin University, Geelong, Australia; bNational University Autonoma de Chota, Chota, Peru ABSTRACT ARTICLE HISTORY The null hypothesis of the experiments reported is that the cuticle and cortical morphology of rare Received 6 March 2017 animal fibres are similar. The investigation also examined if the productivity and age of alpacas were Accepted 11 August 2017 associated with cuticle morphology and if seasonal nutritional conditions were related to cuticle scale KEYWORDS frequency.
    [Show full text]
  • Connecting Alaska's Fiber Community
    T HE A L A SK A N at UR A L F IBER B USI N ESS A SSOCI at IO N : Connecting Alaska’s Fiber Community Jan Rowell and Lee Coray-Ludden one-and-a-half day workshop in the fall of 2012 rekindled a passion for community AFES Miscellaneous Publication MP 2014-14 among Alaska’s fiber producers and artists. “Fiber Production in Alaska: From UAF School of Natural Resources & Extension Agriculture to Art” provided a rare venue for fiber producers and consumers A Agricultural & Forestry Experiment Station to get together and share a strong common interest in fiber production in Alaska. The workshop was sponsored by the Alaska State Division of Agriculture and organized by Lee Coray-Ludden, owner of Shepherd’s Moon Keep and a cashmere producer. There is nothing new about fiber production in Alaska. The early Russians capitalized on agricultural opportunities wherever they could and domestic sheep and goats were a mainstay in these early farming efforts. But even before the Russians, fiber was historically used for warmth by Alaska’s indigenous people. They gathered their fiber from wild sources, and some tribes handspun it and wove it into clothing, Angora rabbits produce a soft and silky creating beautiful works of art. fiber finer than cashmere. Pictured below is Some of the finest natural fibers in the world come from animals that evolved in Michael, a German angora, shortly before cold, dry climates, and many of these animals are grazers capable of thriving on Alaska’s shearing. Angora rabbits may be sheared, natural vegetation.
    [Show full text]
  • Yarn 101 with Fancy Tiger
    Yarn 101 with Fancy Tiger Chapter 1 - Introduction Overview (inspiring music) - Hi, I'm Jaime. - And I'm Amber. We're from Fancy Tiger in Denver, Colorado. We have a craft shop and in our shop we carry a lot of different yarns. We really love different fibers and different types of yarn. We're going to tell you today a little bit about what we look for in a yarn. - It can be intimidating and overwhelming sometimes to go into a yarn shop and see all of the different types of yarns that are available. So, today in Yarn 101, we're gonna teach you everything we know about yarn. We're gonna teach you how it's made, what to look for when picking out yarn for a project, what the different gauges are, what the different fibers are, the difference between plant fibers and protein fibers. - We'll cover a little bit of everything about yarn. (inspiring music) Chapter 2 - Natural Fibers Yarn overview - We're gonna talk about how yarn is made. This is a piece of fiber and yarn is made from lots of different fibers and it's the same whether it's a plant fiber or a protein fiber like wool. As you can see, when it's just in the fiber form, it is very easy to pull apart. So in order to make yarn twist is added to the fiber. And by adding twist it then makes it really strong. This is how yarn is made. - This is called a single.
    [Show full text]
  • VOGUEKNITTINGLIVE.COM SC HEDULE Thursday, October 23 Registration: 3 P.M
    VOGU Eknitting CHICAGO THE ULTIMATE KNITTING EVENT OCTOBER 24 –26 ,2014 • PALMER HOUSE HILTON HOTEL PRINTABLE BROCHURE NEW& INSPIRATIONAL KNITWORTHY HAND KNITTING PRODUCTS CLASSES & LECTURES! VOGUEKNITTINGLIVE.COM SC HEDULE Thursday, October 23 Registration: 3 p.m. –7 p.m. OF EVENTS Classroom Hours: 6 p.m. –9 p.m. Friday, October 24 VOGUEknitting Registration: 8 a.m. –7:30 p.m. 3-hour Classroom Hours: 9 a.m.–12 p.m., 2 p.m.–5 p.m., 6 p.m. –9 p.m. 2-hour Classroom Hours: 9 a.m.–11 a.m., 2 p.m.–4 p.m. Marketplace: 5:00 p.m. –8:30 p.m. Please refer to VogueknittingLIVE.com for complete details. Saturday, October 25 HOTEL INFORMATION Registration: 8 a.m. –6:30 p.m. Vogue Knitting LIVE will be held in 3-hour Classroom Hours: 9 a.m.–12 p.m., 2 p.m.–5 p.m., 6 p.m. –9 p.m. downtown Chicago at the luxurious 2-hour Classroom Hours: Palmer House Hilton Hotel, located 9 a.m.–11 a.m., 2 p.m.–4 p.m. near Millennium Park in the heart of Marketplace: 10 a.m. –6:30 p.m. the theater, financial, and shopping districts of downtown Chicago. The Palmer House Hilton Hotel is within walking distance of the Windy City’s Sunday, October 26 most famous museums, shopping,a government, and corporate buildings. Registration: 8 a.m. –3 p.m. 3-hour Classroom Hours: The Palmer House Hilton Hotel 9 a.m.–12 p.m., 2 p.m.–5 p.m.
    [Show full text]
  • Yarn Support Programme AW 20-21
    Yarn Support Programme AW 20-21 The Fibre Co. are seeking applications from independent designers for its 7th Yarn Support Programme for Autumn Winter 2020-21. We welcome submissions from designers of all races, sexualities, gender expressions, abilities, ages and body sizes. For this request we are looking for garment designs for our new brushed yarn Cirro and sock designs for our new sock yarn Amble. Interested and looking for some inspiration? We’ve put together amood board of what inspires us – remember, we are also interested in what inspires you! The Details The designer will be responsible for all aspects of self-publishing the pattern to an agreed timescale (including technical editing, test knitting, layout, photography and marketing). The Fibre Co. will provide designers with full yarn support for selected designs. We will also work with you to promote your designs to our customers and yarn shops where appropriate. All designs published with yarn support from this programme will be self-published by the designer. The designer retains full rights. The Fibre Co. will request use of images to promote the designs and collaboration where appropriate. Everyone we work with is expected to follow our Code of Conduct, so please kindly read it before submitting your design. Key Dates The deadline for submission of design proposals is 17th April 2020. We will be in touch by 30th April 2020 if your design has been selected. The publishing deadline should fall between August 2020 and February 2021. Final time lines will be agreed once your design has been accepted. Submission Requirements Please submit a one-page pdf with the following details: • Photographs of your knitted swatches showing 2 full repeats of any stitch patterns or texture work used.
    [Show full text]
  • Terminology Associated with Silk in the Middle Byzantine Period (AD 843-1204) Julia Galliker University of Michigan
    University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Textile Terminologies from the Orient to the Centre for Textile Research Mediterranean and Europe, 1000 BC to 1000 AD 2017 Terminology Associated with Silk in the Middle Byzantine Period (AD 843-1204) Julia Galliker University of Michigan Follow this and additional works at: http://digitalcommons.unl.edu/texterm Part of the Ancient History, Greek and Roman through Late Antiquity Commons, Art and Materials Conservation Commons, Classical Archaeology and Art History Commons, Classical Literature and Philology Commons, Fiber, Textile, and Weaving Arts Commons, Indo-European Linguistics and Philology Commons, Jewish Studies Commons, Museum Studies Commons, Near Eastern Languages and Societies Commons, and the Other History of Art, Architecture, and Archaeology Commons Galliker, Julia, "Terminology Associated with Silk in the Middle Byzantine Period (AD 843-1204)" (2017). Textile Terminologies from the Orient to the Mediterranean and Europe, 1000 BC to 1000 AD. 27. http://digitalcommons.unl.edu/texterm/27 This Article is brought to you for free and open access by the Centre for Textile Research at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Textile Terminologies from the Orient to the Mediterranean and Europe, 1000 BC to 1000 AD by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. Terminology Associated with Silk in the Middle Byzantine Period (AD 843-1204) Julia Galliker, University of Michigan In Textile Terminologies from the Orient to the Mediterranean and Europe, 1000 BC to 1000 AD, ed. Salvatore Gaspa, Cécile Michel, & Marie-Louise Nosch (Lincoln, NE: Zea Books, 2017), pp. 346-373.
    [Show full text]
  • KNITTING Definition Statement Relationship Between Large Subject
    D04B KNITTING Definition statement This subclass/group covers: weft knitting machines are covered by D04B 7/00 to D04B 13/00, details of, or auxiliary devices incorporated in such machines are covered by D04B 15/00 and articles made by such machines are covered by D04B 1/00 warp knitting machines are covered by D04B 23/00 to D04B 25/00, details of, or auxiliary devices incorporated in such machines are covered by D04B 27/00 and articles made by such machines are covered by D04B 21/00 details of, or auxiliary devices incorporated in knitting machines not limited to a specific kind of knitting machine are covered by D04B 35/00 miscellaneous knitting machines and articles made by such machines are covered by D04B 39/00 hand knitting equipment is covered by D04B 3/00, D04B 5/00 and D04B 33/00 auxiliary apparatuses or devices for use with knitting machines are covered by D04B 37/00 or for hand knitting equipment are covered by D04B 17/00, D04B 19/00 and D04B 31/00 Relationship between large subject matter areas The difference between the subclass D04B and B32B5 is as follows:layered products including knitted products as such should be classified in B32B5 only; layered products formed by a knitting process featuring specified patterns or information on the composition of the knit article should be classified in D04B. Note that such products may comprise additional coated faces. References relevant to classification in this subclass This subclass/group does not cover: Layered products (i.e. laminates) B32B 5/00 including knitted articles 1 Knitted products of unspecified A41A61F structure or composition, e.g.
    [Show full text]
  • Textile Design: a Suggested Program Guide
    DOCUMENT RESUME CI 003 141 ED 102 409 95 Program Guide.Fashion TITLE Textile Design: A Suggested Industry Series No. 3. Fashion Inst. of Tech.,New York, N.T. INSTITUTION Education SPONS AGENCY Bureau of Adult,Vocational, and Technictl (DREW /OE), Washington,D.C. PUB DATE 73 in Fashion Industry NOTE 121p.; For other documents Series, see CB 003139-142 and CB 003 621 Printing AVAILABLE FROM Superintendent of Documents,U.S. Government Office, Washington, D.C.20402 EDRS PRICE NP -$0.76 HC-$5.70 PLUS POSTAGE Behavioral Objectives; DESCRIPTORS Adult, Vocational Education; Career Ladders; *CurriculumGuides; *Design; Design Crafts; EducationalEquipment; Employment Opportunities; InstructionalMaterials; *Job Training; Needle Trades;*Occupational Rome Economics; OccupationalInformation; Program Development; ResourceGuides; Resource Units; Secondary Education;Skill Development;*Textiles Instruction IDENTIFIERS *Fashion Industry ABSTRACT The textile designguide is the third of aseries of resource guidesencompassing the various five interrelated program guide is disensions of the fashionindustry. The job-preparatory conceived to provide youthand adults withintensive preparation for and also with careeradvancement initial entry esploysent jobs within the textile opportunities withinspecific categories of provides an overviewof the textiledesign field, industry. The guide required of workers. It occupational opportunities,and cospetencies contains outlines of areasof instruction whichinclude objectives to suggestions for learning be achieved,teaching
    [Show full text]
  • View Resume/Vita
    Email: [email protected] LinkedIn : https://www.linkedin.com/in/eulandasanders EDUCATION: 1997 Doctorate of Philosophy Human Resources and Family Sciences, University of Nebraska-Lincoln Dissertation Title: African American Appearance: Cultural Analysis of Slave Women’s Narratives Advisor: Joan Laughlin, Ph.D. 1994 Masters of Arts Design, Merchandising and Consumer Sciences, Colorado State University Thesis Title: AutoCAD for Hand-Knitted Garment Production: Art Deco Design Advisor: Diane Sparks, Ed.D. 1990 Bachelor of Science Apparel and Merchandising, Colorado State University Honors: Cum Laude 1987 Associate of Arts Liberal Arts, Lamar Community College Honors: President’s List and Graduation Student Speaker ACADEMIC POSITIONS: August 2012 - forward Professor and Donna R. Danielson Endowed Professorship in Textiles and Clothing, Department of Apparel, Events and Hospitality Management (AESHM), College of Human Sciences, Iowa State University Current: Teaching 60%, Research/Creative Scholarship 20%, Service 20% Lead the development of the apparel design and product development programs Mentor tenure-track and non-tenure track faculty in apparel design and product development Recruit, mentor, and advise top graduate students into the department Manage the Digital Apparel & Textile Studio (DATS) 1 June 2016 – forward Equity Advisor, College of Human Sciences, Iowa State University Chair the CHS Committee on Diversity, Equity, and Community (DEC) and represents the CHS on the ISU Committee on Diversity Coordinate regularly with
    [Show full text]
  • Bamboo Yarn Toothbrushes, Razors, Combs, Hair Brushes, Ear Buds, and Other Sustainable Options (E
    Bamboo Yarn toothbrushes, razors, combs, hair brushes, ear buds, and other sustainable options (e. The whole distillation and production process strictly adopts green processing standards according to ISO 9000 and ISO 14000. Combining the softness and drape of bamboo rayon with the durability of cotton, our beautiful Cotton Bamboo yarn is great for year-round projects, such as clothing and baby items. View all Patons Silk Bamboo Yarn 9 Shades Available Compare Patons Silk Bamboo Yarn. Many yarns are produced in a mixture of materials, to get the benefits from several materials. 509-536-7746. And bamboo viscose filament has properties of soft hand and good hygroscopicity and vetilatory,cool and bright luster,it has a good wearability and natural antibiotic and bacteriostasis for colon bacillus and golden staphylococcus. All of our products are made from organic sources, which include our hemp, agave cactus, coconut fiber, and others. 3 Reviews $ 4. What was the first violin string? probably a thick piece of yarn or bamboo wire. Hemp - Hemp Yarn. Add a little bit of acrylic! The thread consists of 70% bamboo, which makes the yarn the softest you have ever experienced and gives it a special light weighted feel. Visit Our Blog. Great for cheerful socks, accessories, baby knits, and more! Machine wash warm, dry flat. The smooth surface ensures that the yarn is pulled smoothly and evenly in the hole without being stuck. How is Bamboo Textile Fibre made? The bamboo forests in China have largely been cultivated there for many hundreds, and in some cases thousands, of years.
    [Show full text]
  • Module 3 Rev.Indd
    Module 3 • GoNorth! Flora and Fauna: Animal Population chuttui / tuttu caribou © Subhankar Banerjee Module 3 • Flora and Fauna: Animal Population Module Question What are the effects of oil exploration on Arctic wildlife populations? Alert! We have some breaking news from WPH. Team GoNorth! needs your help. When Senator Frank Murkowski of Alaska compared the Arctic National Wildlife Refuge (ANWR) to a blank sheet of white paper in his address to the Senate, he did not keep in mind the 150,000 members of the Porcupine caribou herd and the other 250 animal species that call ANWR home. While winter is a time when many of those animals are hibernating or have migrated south, many more remain year-round. “Sometimes it can seem like we’re traveling on an endless conveyor belt of white,” comments expedition leader Paul Pregont. “During blizzards and high winds, the Arctic can seem like a cold and lifeless place. In fact, I have traveled in conditions so hostile that I could barely see past my lead dog, Aksel. But those are also the times that help me realize how special the Arctic really is. During the expedition, however, Team GoNorth! will most likely encounter many different animals like wolves, wolverines, ravens, arctic hare, arctic fox, caribou, ptarmigan, mink, snowy owls and even…polar bears. And that’s just a start. Many smaller mammals and insects spend their winter nestled safely under the snow in the small air space above the ground. There isn’t a day that goes by that team members don’t see some sign that an animal has passed nearby.
    [Show full text]