DOCSLIB.ORG

Velvets & Velveteen

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Velvets & Velveteen Velvets & Velveteen Traditionally, the grand or house drapes are made of velvet with a generous fullness. Velvet is a beautiful and luxurious fabric, but you must provide extra attention to the care and maintenance of this fabric. Note that Velvet Velour should not be confused with velveteen. Velour is a cotton fabric that has a deeper pile than velveteen, is heavier in weight and is commonly used in draperies. PRG offers a range of velvet, velour and velveteen options. Grand IFR Velvet GRAND IFR VELVET PRG Grand IFR Velvet is our preferred velvet • made of 100% IfR polyesteR for Grand Front Drapes. It has set a new • weIghs 500g/m2 benchmark by being the perfect combination • 137cm wIdth of the opulence of velvet with Inherently • avaIlable in a range of colouRs Flame retardant certification. As a Grand • InheRently Flame RetaRdant (IfR) Front Drape (House Curtain) the velvet can • ceRtIfIcated to ANZ 1530 paRts 2 & 3 be lined with our IFR Royal Velveteen, and can be embellished with fringes and braid, or painted for dramatic effect. Normally available ex stock in a range of popular colours including plumb, royal and black.* SOVEREIGN IFR VELVET Sovereign IFR Velvet is medium weight affordable velvet which can be used as a grand drape as well as stage masking. With less sheen than our other IFR Velvets, the Sovereign is more suitable for black masking where a velvet option is preferred. As a Grand Front Drape (House Curtain) the velvet Sovereign IFR Velvet can be lined with our IFR Royal Velveteen, and can be embellished with fringes and • made of 100% IfR polyesteR braid, or painted for dramatic effect. • weIghs 400g/m2 • 137cm wIdth ROYAL IFR VELVETEEN • avaIlable in black in stock oR colouRs on request Royal IFR Velveteen is a versatile and • InheRently Flame RetaRdant (IfR) popular fabric and is often used as event • ceRtIfIcate pendIng (ceRtIfIcated to ANZ 1530 paRts 2 & 3) drapery or lining for our Grand Front Drapes and Starcloths. Similar to velvet in appearance, velveteen generally has a shorter pile and a lighter base cloth. The PRG Royal IFR Velveteen is manufactured from inherently flame retardant polyester and is available in black only. Grand IFR Velvet Colour Chart 1003 WHEAT 1043 ICE BLUE 1122 OLD JADE 1123 REGAL RED 1064 BLACK 1018 GOLD 1053 CORNFLOWER 4004 PEACOCK 1077 CHERRY 4005 CRIMSON Royal IFR Velveteen • made of 100% IfR polyesteR 1016 MAIZE 1056 DEFLT BLUE 1041 HUNTER 1076 PLUM 4171 MOLESKIN 1143 COLONIAL BRICK • weIghs 400g/m2 • 137cm wIdth 1060 PEWTER 1058 HYACINTH 1118 NAVY 1074 RUBY 1070 BROWN 1072 EGGPLANT • avaIlable in black in stock oR colouRs on request The following chart represents the standard colour availability for Grand IFR Velvet. WWW.PRGSHOWDRAPES.COM ©2012 PRODUCTION RESOURCE GROUP, LLC. ALL RIGHTS RESERVED. SPECIFICATIONS * *PLEASEto NOTE: view ACTUAL COLOURS MAY g VARY SOMEWHATrand FROM THOSE I PICTUREDfR velvet’s completeARE SUBJECT TO CHANGEcolour WITHOUT NOTICE. VERSION: NOVEMBER 2012 • InheRently Flame RetaRdant (IfR) availability, please visit http://bit.ly/uaYTv9 • ceRtIfIcate pendIng (ceRtIfIcated to ANZ 1530 paRts 2 & 3) Velvets & Velveteen (continued) REGAL VELVET Regal Velvet is a traditional 100% cotton heavy weight velvet used for Grand Front Drapes, but has now been largely replaced by our inherently flame retardant (IFR) velvets. The Regal is also used as stage masking. As a Grand Front Drape (House Curtain) the velvet can be lined with our IFR Royal Velveteen, and can be embellished with fringes and braid, or painted for dramatic effect. Available in a range of colours by special order only. Regal Velvet • made of 100% cotton LYRIC VELVET • weIghs 500g/m2 Lyric Velvet is a traditional 100% cotton • 120cm wIdth medium weight velvet used for Grand Front • avaIlable in black oR colouRs Drapes and for stage masking, but has now • flame retaRdant been largely replaced by our inherently • ceRtIfIcated to ANZ 1530 paRts 2 & 3 flame retardant (IFR) velvets. As a Grand Front Drape (House Curtain) the velvet can be lined with our IFR Royal Velveteen, and can be embellished with fringes and braid, or painted for dramatic effect. Available in a range of colours by special order only. Lyric Velvet • made of 100% cotton • weIghs 385g/m2 • 120cm wIdth • avaIlable in a range of colouRs WWW.PRGSHOWDRAPES.COM • flame retaRdant ©2012 PRODUCTION RESOURCE GROUP, LLC. ALL RIGHTS RESERVED. • ceRtIfIcated to ANZ 1530 paRts 2 & 3 SPECIFICATIONS ARE SUBJECT TO CHANGE WITHOUT NOTICE. VERSION: NOVEMBER 2012.
Load more

Recommended publications
  • First Review - Professional Peers - ITAA Members
    DESIGN EXHIBITION COMMITTEE First Review - Professional Peers - ITAA Members Mounted Gallery Co-Chairs: Melinda Adams, University of the Incarnate Word Laura Kane, Framingham State University Su Koung An, Central Michigan University Ashley Rougeaux-Barnes, Texas Tech University Laurie Apple, University of Arkansas Lynn Blake, Lasell College Lynn Boorady, Buffalo State College Design Awards Committee: Melanie Carrico, University of North Carolina, Greensboro Review Chair: Belinda Orzado, University of Delaware Chanjuan Chen, Kent State University Kelly Cobb, University of Delaware Catalog: Sheri L. Dragoo, Texas Woman’s University Sheri Dragoo, Texas Woman’s University V.P. for Scholarship: Youn Kyung Kim, University of Tennessee Rachel Eike, Baylor University Andrea Eklund, Central Washington University Jennifer Harmon, University of Wyoming First Review Erin Irick, University of Wyoming A total of 107 pieces were accepted through the peer review Ashley Kim, SUNY Oneonta process for display in the 2017 ITAA Design Exhibition with Eundeok Kim, Florida State University a 37% acceptance rate. All jurying employed a double blind Helen Koo, Konkuk University process so the jurors had no indication of whose work they Ashley Kubley, University of Cincinnati were judging. A double-blind jury of textile and apparel peers Jung Eun Lee, Virginia Tech reviewed each submission including design statement and YoungJoo Lee, Georgia Southern University images. Further, a panel of Industry experts reviewed submissions Diane Limbaugh, Oklahoma State University
    [Show full text]
  • The Velveteen Rabbit Study Guide
    STUDY GUIDE T adapted for the stage by Janet Allard from the book by Margery Williams directed by Beth Lopes M AY 2 4 JU N E 9 Prepared by Literary Associate Kat Zukaitis and Literary Intern Marcus Beebe The Velveteen Rabbit • SOUTH COAST REPERTORY •1 TABLE OF CONTENTS PART I: THE PLAY The Characters ........................................................................................................................................................................................ 3 The Story ...................................................................................................................................................................................................... 3 Going by the Book: The Velveteen Rabbit ......................................................................................................................... 4 Meet the Playwright: Janet Allard ........................................................................................................................................... 5 Meet the Author: Margery Williams ....................................................................................................................................... 5 From Page to Stage: Making The Velveteen Rabbit ................................................................................................... 6 PART II: CLASSROOM ACTIVITIES BEFORE THE SHOW Questions for Discussion and Activities ...................................................................................................................
    [Show full text]
  • The Velveteen Rabbit by Margery Williams
    The Velveteen Rabbit By Margery Williams The Velveteen Rabbit by Margery Williams There was once a velveteen rabbit, and in the beginning he was really splendid. He was fat and bunchy, as a rabbit should be; his coat was spotted brown and white, he had real thread whiskers, and his ears were lined with pink sateen. On Christmas morning, when he sat wedged in the top of the Boy's stocking, with a sprig of holly between his paws, the effect was charming. There were other things in the stocking, nuts and oranges and a toy engine, and chocolate almonds and a clockwork mouse, but the Rabbit was quite the best of all. For at least two hours the Boy loved him, and then Aunts and Uncles came to dinner, and there was a great rustling of tissue paper and unwrapping of parcels, and in the excitement of looking at all the new presents the Velveteen Rabbit was forgotten. For a long time he lived in the toy cupboard or on the nursery floor, and no one thought very much about him. He was naturally shy, and being only made of velveteen, some of the more expensive toys quite snubbed him. The mechanical toys were very superior, and looked down upon every one else; they were full of modern ideas, and pretended they were real. The model boat, who had lived through two seasons and lost most of his paint, caught the tone from them and never missed an opportunity of referring to his rigging in technical terms. The Rabbit could not claim to be a model of anything, for he didn't know that real rabbits existed; he thought they were all stuffed with sawdust like himself, and he understood that sawdust was quite out-of-date and should never be mentioned in modern circles.
    [Show full text]
  • NF00-430 Sewing with Velveteen
    University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Historical Materials from University of Nebraska-Lincoln Extension Extension 2000 NF00-430 Sewing with Velveteen Rose Marie Tondl Follow this and additional works at: https://digitalcommons.unl.edu/extensionhist Part of the Agriculture Commons, and the Curriculum and Instruction Commons Tondl, Rose Marie, "NF00-430 Sewing with Velveteen" (2000). Historical Materials from University of Nebraska-Lincoln Extension. 1179. https://digitalcommons.unl.edu/extensionhist/1179 This Article is brought to you for free and open access by the Extension at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Historical Materials from University of Nebraska-Lincoln Extension by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. Nebraska Cooperative Extension NF00-430 Sewing with Velveteen Rose Marie Tondl, Extension Clothing Specialist What is velveteen? Velveteen is made from cotton or a cotton-blend fabric that has a short dense pile. It is woven in a single layer with an extra set of filling yarns that are cut to form the short, closely set pile. Velveteen is available in solid colors and printed with plaid, floral or paisley designs. As a medium weight fabric, it is used whenever a velvet look is desired. It is easier to sew and more durable than velvet. Patterns This fabric is used for dresses, jumpers, vests, children's clothes, jackets, coats, skirts and slacks. Simple styles with few seams are good choices. Preshrink All cotton velveteen will shrink. For finished garments that will be laundered, stitch ends of fabric closed, then wash and tumble dry on delicate cycle.
    [Show full text]
  • Velvet and Velveteen All Sewn up Beverly Rhoades*
    ;j. - 7J1~77 L-1002 Velvet and Velveteen All Sewn Up Beverly Rhoades* For a plush, fashionable look any time of the year, Veh'eteCJl COIlstnlcti()Jl choose velvet or velveteen, the most luxurious of the floats pile fabrics. For centuries, these fabrics have added elegance, femininity and versatility to wardrobes as beautiful dresses, gowns or separates. While these fabrics are similar in appearance, the process used to construct each fabric is quite differ­ warp ends ent. Velvet, the oldest of the pile fabrics (since 2000 B.C.), may be woven or knitted. In woven velvet the pile is formed by the lengthwise warp yams; in velve­ teen the crosswise filling yarns form the pile. In woven velvet, two layers offabric are woven simulta­ neously forming a sandwich with the vertical warp yams as the filling. Layers are then separated with a knife to form the pile. Velveteen, a simulation of true Types of Velvet velvet used since the late 1700's, is woven in a single Velvet was originally made from silk, but today's layer with a floating yarn which is cut to form the pile. velvet is usually all or part synthetic (particularly rayon and acetate), or may be cotton or a cotton Velvet constructiun blend. With vast improvements in weaving, knitting and finishing techniques, today's velvet is easier to work with and care for. It has become a fabric for all double woven velvet before splitting seasons in weights for every type of garment. Lightweight velvets are suitable for dresses, sepa­ cut rates or evening wear, especially in warmer seasons.
    [Show full text]
  • The War and Fashion
    F a s h i o n , S o c i e t y , a n d t h e First World War i ii Fashion, Society, and the First World War International Perspectives E d i t e d b y M a u d e B a s s - K r u e g e r , H a y l e y E d w a r d s - D u j a r d i n , a n d S o p h i e K u r k d j i a n iii BLOOMSBURY VISUAL ARTS Bloomsbury Publishing Plc 50 Bedford Square, London, WC1B 3DP, UK 1385 Broadway, New York, NY 10018, USA 29 Earlsfort Terrace, Dublin 2, Ireland BLOOMSBURY, BLOOMSBURY VISUAL ARTS and the Diana logo are trademarks of Bloomsbury Publishing Plc First published in Great Britain 2021 Selection, editorial matter, Introduction © Maude Bass-Krueger, Hayley Edwards-Dujardin, and Sophie Kurkdjian, 2021 Individual chapters © their Authors, 2021 Maude Bass-Krueger, Hayley Edwards-Dujardin, and Sophie Kurkdjian have asserted their right under the Copyright, Designs and Patents Act, 1988, to be identifi ed as Editors of this work. For legal purposes the Acknowledgments on p. xiii constitute an extension of this copyright page. Cover design by Adriana Brioso Cover image: Two women wearing a Poiret military coat, c.1915. Postcard from authors’ personal collection. This work is published subject to a Creative Commons Attribution Non-commercial No Derivatives Licence. You may share this work for non-commercial purposes only, provided you give attribution to the copyright holder and the publisher Bloomsbury Publishing Plc does not have any control over, or responsibility for, any third- party websites referred to or in this book.
    [Show full text]
  • Identifying Textile Types and Weaves 1750-1950 DATS in Partnership with the V&A
    Identifying Textile Types and Weaves 1750-1950 DATS in partnership with the V&A DATS DRESS AND TEXTILE SPECIALISTS 1 Identifying Textile Types and Weaves 1750-1950 Text copyright © DATS, 2007 Image copyrights as specified in each section. This information pack has been produced to accompany a one-day workshop of the same name taught by Sue Kerry and held at Birmingham Museum and Art Gallery Collections Centre on 29th November 2007. The workshop is one of three produced in collaboration between DATS and the V&A, funded by the Renaissance Subject Specialist Network Implementation Grant Programme, administered by the MLA. The purpose of the workshops is to enable participants to improve the documentation and interpretation of collections and make them accessible to the widest audience. Participants will have the chance to study objects at first hand to help increase their confidence in identifying textile materials and techniques. This information pack is intended as a means of sharing the knowledge communicated in the workshops with colleagues and the public. Other workshops / information packs in the series: Identifying Printed Textiles in Dress 1740 -1890 Identifying Handmade and Machine Lace Front Cover - English silk tissue, 1875, Spitalfields. T.147-1972 , Image © V&A Images / Victoria and Albert Museum 2 Identifying Textile Types and Weaves Contents Page 2. List of Illustrations 1 3. Introduction and identification checklist 3 4. Identifying Textile Types - Fibres and Yarns 4 5. Weaving and Woven Cloth Historical Framework - Looms 8 6. Identifying Basic Weave Structures – Plain Cloths 12 7. Identifying Basic Weave Structures – Figured / Ornate Cloths 17 8.
    [Show full text]
  • Basic of Textiles
    BASIC OF TEXTILES BFA(F) 202 CC 5 Directorate of Distance Education SWAMI VIVEKANAND SUBHARTI UNIVERSITY MEERUT 250005 UTTAR PRADESH SIM MOUDLE DEVELOPED BY: Reviewed by the study Material Assessment Committed Comprising: 1. Dr. N.K.Ahuja, Vice Chancellor Copyright © Publishers Grid No part of this publication which is material protected by this copyright notice may be reproduce or transmitted or utilized or store in any form or by any means now know or here in after invented, electronic, digital or mechanical. Including, photocopying, scanning, recording or by any informa- tion storage or retrieval system, without prior permission from the publisher. Information contained in this book has been published by Publishers Grid and Publishers. and has been obtained by its author from sources believed to be reliable and are correct to the best of their knowledge. However, the publisher and author shall in no event be liable for any errors, omission or damages arising out of this information and specially disclaim and implied warranties or merchantability or fitness for any particular use. Published by: Publishers Grid 4857/24, Ansari Road, Darya ganj, New Delhi-110002. Tel: 9899459633, 7982859204 E-mail: [email protected], [email protected] Printed by: A3 Digital Press Edition : 2021 CONTENTS 1. Fiber Study 5-64 2. Fiber and its Classification 65-175 3. Yarn and its Types 176-213 4. Fabric Manufacturing Techniques 214-260 5. Knitted 261-302 UNIT Fiber Study 1 NOTES FIBER STUDY STRUCTURE 1.1 Learning Objective 1.2 Introduction 1.3 Monomer, Polymer, Degree of polymerization 1.4 Student Activity 1.5 Properties of Fiber: Primary & Secondary 1.6 Summary 1.7 Glossary 1.8 Review Questions 1.1 LEARNING OBJECTIVE After studying this unit you should be able to: ● Describe the Natural Fiber.
    [Show full text]
  • Lining a Jewelry Chest
    Online Extra lining a Jewelry Chest Choose the right fabric to protect fine jewelry and add that extra touch of quality to any jewelry chest. } Fabric glue bonds quickly Building a jewelry chest like the of the fibers to get the look you cushion fine jewelry. You can and won't one in issue No. 197, is a great want. But even more important see the look of a velveteen lining bleed through. way to practice your wood- you’ll want to make sure the fab- in the main photo. working skills, while making a ric won’t have a harmful effect Flannel (either wool or cotton) treasured gift. But the construc- on the jewelry. Many synthetic is also a good choice. Flannel is tion of a jewelry chest doesn’t fabrics, and even some natural usually a little thinner than velvet end with the last coat of finish. products like leather and felt, can but still has enough pile to pro- To really make the project top contain chemicals that will tar- vide a cushion. Take a look at the -notch, you’ll want to line the nish fine jewelry. Natural fabrics sample fabric swatches below to inside of the drawers. like cotton, silk, and wool are the see what I mean. MATERIALS. When you line the best choices because they don’t Satin, made from silk or rayon, drawers , you have some impor- contain any harmful chemicals. works well as a lining, too. It may tant decisions to make. First, Velvet made from silk, rayon, be thin, but its rich, smooth luster you’ll have to pick a suitable or cotton (commonly called adds a luxurious touch.
    [Show full text]
  • Isi-Agu Printed Fabric a Fashion Signifiier on Pop Culture
    IOSR Journal of Humanities And Social Science (IOSR-JHSS) Volume 25, Issue 12, Series 8 (December. 2020) 49-58 e-ISSN: 2279-0837, p-ISSN: 2279-0845. www.iosrjournals.org Isi-Agu Printed Fabric A Fashion Signifiier On Pop Culture Margaret AjiginniHND.AUCHI, MFA.DELSU, Ph.D.DELSU Antonia Okogwu BA. NIGERIA, MFA. ABU, Ph.D. DELSU Chile Oparaocha BA ABU,MFA Uniuyo. Abstract Isi-Agu(meaning Lion Head) isan industrial printed fabric embellished with lion symbol/motifthat has broken social boundaries between the High Culture and Pop Culture fashion.The traditional soft texture Isi-agu cloth was a royal monopoly and an aristocratic dress with a strong sense of the historicityof the Igbo people of South- Eastern Nigeria. Itrepresents the prominent symbol of leadership, strong future, and lion symbol being a vehicle of communication expresses a culturally understood visual language in the Igbo region. However,it has influenced Pop culture fashion due to innovative technology, effective mass media, and cheaper versions that exhibit excellent colour schemes and designs. The study seeks to understand what influenced pop culture fashion trends, their acceptance, design concept, and popularization. The essence is to encouragethe production of cheaperIsi-agu durable fabrics, higher patronage amongst the younger generation, the expression of creativity, and thus innovativeness. The study employsa descriptive research method and library information. It is essential to promotethe fashion and textile industries in Nigeria. Keywords: Isi-agu, lion head, pop
    [Show full text]
  • The Textile Museum Thesaurus
    The Textile Museum Thesaurus Edited by Cecilia Gunzburger TM logo The Textile Museum Washington, DC This publication and the work represented herein were made possible by the Cotsen Family Foundation. Indexed by Lydia Fraser Designed by Chaves Design Printed by McArdle Printing Company, Inc. Cover image: Copyright © 2005 The Textile Museum All rights reserved. No part of this document may be reproduced, stored in a retrieval system, or transmitted in any form or by any means -- electronic, mechanical, photocopying, recording or otherwise -- without the express written permission of The Textile Museum. ISBN 0-87405-028-6 The Textile Museum 2320 S Street NW Washington DC 20008 www.textilemuseum.org Table of Contents Acknowledgements....................................................................................... v Introduction ..................................................................................................vii How to Use this Document.........................................................................xiii Hierarchy Overview ....................................................................................... 1 Object Hierarchy............................................................................................ 3 Material Hierarchy ....................................................................................... 47 Structure Hierarchy ..................................................................................... 55 Technique Hierarchy ..................................................................................
    [Show full text]
  • Fashion and Trends
    Module 3: Fashion and Trends 40 .Fashion Store Assistant & Personal Shopper 3.1 History of Fashion One of the most important aspects of a personal shopper is to have a solid base of knowledge on the broad concepts of fashion, its origin and evolution. Although at first glance fashion can seem casual, spontaneous or inspired by creative designers, especially over past decades, fashion is actually a much deeper phenomenon. When looked at from a historical perspective, fashion is closely linked to socio-economic development and reflects the historical events of the era it’s born in. By looking at the evolving story of fashion from the late 1800s to today you’ll see how different historical periods have influenced and shaped it. You’ll have a broad knowledge of the origins of all trends and see how we’ve come to the present day styles. 1900: Belle Époque 41 Fashion Store Assistant & Personal Shopper 1900s, the Belle Epoque Although the French had been enjoying a period of splendour known as the Belle Epoque since 1870, it was not until 1900 that the rest of Europe caught the contagious optimism and cheerfulness that spread from Pari-sian society. It started a period of social well-being and distinctive style. After the death of Queen Victoria in Britain in 1901, her successor, King Edward VII welcomed a more joyful, sociable life and so Britain was one of the first countries to adopt this new way of being. Paris set the benchmark for excellence in the world of couture with fashion houses like Callot Soeurs, Doucet, Paquin and Drecoll.
    [Show full text]