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The Jails and the Women Prisoners As They Exist……
CHAPTER - 1 THE JAILS AND THE WOMEN PRISONERS AS THEY EXIST……. The state of Punjab is a prosperous region known for its industrious and hardworking people. But even as these tall well built people cope with numerous specific regional problems, accept changes and grow in a global world – the glaring fact that needs specific attention, is the growing incidence of crime and even more so - the growing incidence of crime committed by women. The changing nature and patterns of these crimes require serious consideration. Most jails had little or no provisions for women to start with - later some arrangements were made to accommodate them. With the increase in women prisoners in each jail the area of confinement is deficient in many ways. Taking up the region of Punjab, which is the focus of the present study, we find that all the prisons located in the various parts of Punjab do not have provisions to keep women prisoners. Only the District and Central jails, which are eight in number, have some provisions to keep women prisoners. There is one exclusive jail for women at Ludhiana, which houses only women prisoners. Once convicted, the women from all the other eight jails are supposed to be sent to this jail. However, a large number of under- trails are also lodged here. Women are under detention in the dowry act cases, drug trafficking- NDPS act, excise act, theft, murders due to family disputes and illicit relationships. A majority of the women prisoners belong to the lower socio-economic strata, a few to the lower middle class and a very few belong to the middle middle class strata of society. -
Classic Velvet Spec Sheet
Classic Velvet DESIGNED BY BASSAMFELLOWS APPLICATION Seating CONTENT 100% Polyester BACKING Polyester/Cotton WIDTH 55" REPEAT None ABRASION 70,000 Cycles, Martindale* FLAMMABILITY CA TB 117-2013 WEIGHT 24.9 Oz Per Linear Yard 16501 Opal 16502 Ice Blue 16503 Platinum ORIGIN Italy ENVIRONMENTAL SCS Indoor Advantage™ Gold FR Chemical Free Prop 65 Chemical Free Healthier Hospitals Compliant Living Future Red List Compliant WELL Building Standard Compliant MAINTENANCE W/S – Clean with Water-Based Cleanser, or Mild, Dry Cleaning Solvent 16504 Smoky Taupe 16505 Blaze 16506 Majestic Red CUSTOM FINISHES Alta™ Plush; PFOA-Free Stain Resistant PRICE GROUP 6 NET PRICE $80 Per Yard NOTE To ensure longevity of velvet textiles, a 100% cotton liner is recommended to prevent wear to the backside of the textile. Areas exposed to greatest wear should be padded with foam beneath this liner. 16507 Peridot 16508 Obsidian 16509 Truffle *Abrasion test results exceeding ACT Performance Guidelines are not an indicator of product lifespan. Multiple factors affect fabric durability and appearance retention. 16510 Sapphire 800.456.6452 geigertextiles.com © 2021 Geiger Geiger Textiles Maintenance Guideline - W/S MAINTENANCE CODE STAIN TREATMENT W/S – Clean with Water-Based Cleanser, or Mild, Soak up any excess moisture immediately. Dry Cleaning Solvent For water-based stains, use a clean, soft, white cloth, a natural REGULAR MAINTENANCE sponge, or a nylon soft-bristle brush with lukewarm, soapy water. Vacuum regularly using the proper attachment to avoid pilling. Brush the stain with light, quick strokes. Avoid a scrubbing motion and work from the edge of the stain toward the center. -
GI Journal No. 75 1 November 26, 2015
GI Journal No. 75 1 November 26, 2015 GOVERNMENT OF INDIA GEOGRAPHICAL INDICATIONS JOURNAL NO.75 NOVEMBER 26, 2015 / AGRAHAYANA 05, SAKA 1936 GI Journal No. 75 2 November 26, 2015 INDEX S. No. Particulars Page No. 1 Official Notices 4 2 New G.I Application Details 5 3 Public Notice 6 4 GI Applications Bagh Prints of Madhya Pradesh (Logo )- GI Application No.505 7 Sankheda Furniture (Logo) - GI Application No.507 19 Kutch Embroidery (Logo) - GI Application No.509 26 Karnataka Bronzeware (Logo) - GI Application No.510 35 Ganjifa Cards of Mysore (Logo) - GI Application No.511 43 Navalgund Durries (Logo) - GI Application No.512 49 Thanjavur Art Plate (Logo) - GI Application No.513 57 Swamimalai Bronze Icons (Logo) - GI Application No.514 66 Temple Jewellery of Nagercoil (Logo) - GI Application No.515 75 5 GI Authorised User Applications Patan Patola – GI Application No. 232 80 6 General Information 81 7 Registration Process 83 GI Journal No. 75 3 November 26, 2015 OFFICIAL NOTICES Sub: Notice is given under Rule 41(1) of Geographical Indications of Goods (Registration & Protection) Rules, 2002. 1. As per the requirement of Rule 41(1) it is informed that the issue of Journal 75 of the Geographical Indications Journal dated 26th November 2015 / Agrahayana 05th, Saka 1936 has been made available to the public from 26th November 2015. GI Journal No. 75 4 November 26, 2015 NEW G.I APPLICATION DETAILS App.No. Geographical Indications Class Goods 530 Tulaipanji Rice 31 Agricultural 531 Gobindobhog Rice 31 Agricultural 532 Mysore Silk 24, 25 and 26 Handicraft 533 Banglar Rasogolla 30 Food Stuffs 534 Lamphun Brocade Thai Silk 24 Textiles GI Journal No. -
Contemporay Trends in Chikankari
© 2020 IJRAR February 2020, Volume 7, Issue 1 www.ijrar.org (E-ISSN 2348-1269, P- ISSN 2349-5138) CONTEMPORAY TRENDS IN CHIKANKARI 1Reena S. Pandey , 2 Dr. Subhash Pawar 1Research Scholar , 2Adjunct Professor 1Faculty of Art & Design, 1Vishwakarma University , Pune, India Abstract : “Chikankari – Beauty on White “ as its main centre of focus, where its existence over the time is being studied with the different evolution it has shown in its products. Chikankari is a distinctive integral part of Lucknow culture. In India it is believed that Chikan embroidery may have existed from times immemorial. It is said that Noor Jahan brought this craft to India and later it was whole- heartedly adopted by the Nawabs of Lucknow. Thus it became a part of the culture of Lucknow. The embroidery work on clothes was a common feature. In ancient and medieval periods embroidery may have been more popular among the elites but in the present age it is common even among the masses. Because of which nowadays the market is flooded with coarsely executed work and thoughtless design diversifications which has eroded the sensibility of the craft. IndexTerms - Elegant, fine, extravagant, global presence, coarsely designs, elite class. I. INTRODUCTION “Fashion is architecture. It is a matter of proportions”, said Coco Chanel, (Sieve Wright, 2007) Chikankari is a traditional embroidery style from Lucknow, India. It’s an art, which results in the transformation of the plainest cotton and organdie into flowing yards of magic. Chikankari is subtle embroidery, white on white, in which minute and delicate stitches stand out as textural contrasts, shadows and traceries. -
Batik V I S U a L M a G I C O N F a B R I C
EZCC Batik V I S U A L M A G I C O N F A B R I C Batik is an ancient form of a manual wax- dyes. India had abundant sources of cotton, resist dyeing process, which is practiced in as well as several plant and mineral sources Indonesia, Malaysia, Japan, China, Thailand, from which the dyes could be extracted. Philippines, Sri Lanka, Nigeria, Middle East, Traditional colours of batik have always India and some other countries. The exact been indigo, dark brown and white – origin of batik is not known, but it is widely colours that represent the gods of the practiced in Indonesia. In India, the resist Hindu trinity – Brahma, Vishnu and Shiva. method of printing designs on fabrics can The art probably declined over the years as be traced back 2000 years, to the 1st it was a tedious and labour intensive century AD. Religious tapestries of ancient process. India bear testimony of the fact that batik The word batik means ‘wax writing’, and printing has existed in our country for a involves three major processes – waxing, long time. Also, traditionally batik was done dyeing and de-waxing – and several sub- only on cotton and silk fabrics, using natural processes – starching, stretching the fabric dipped in boiling water to melt off the layers on a frame and outlining the design using a of wax, to get the final pattern. Colours are special Kalamkari pen. Depending on the significantly changed by the preceding number of colours being used, creating a colour on the fabric as the process involves batik print on a fabric can take several days. -
Phulkari Baghs of the Punjab: Another Perspective
PHULKARI BAGHS OF THE PUNJAB: ANOTHER PERSPECTIVE Arjmand Aziz MAP OF UNDIVIDED PUNJAB. SOURCE: THE IMPERIAL GAZETTEER OF INDIA (1907-1909) HTTP://DSAL.UCHICAGO>EDU/ lthough the most recognised of South A Asian embroidery there is curiously little scholarship available about the deeper meanings of phulkari chadars or shawls. Phulkari, literally translated as ‘flower’ (phul) and ‘work’ (kari), is used to describe several different styles of cloths historically made in the region of Punjab that today comprise the states of Punjab, Haryana, Himachal Pradesh in northern India, and the Punjab province of Pakistan including parts of Swat and Hazara. Within the hierarchy of phulkaris, baghs (literally ‘gardens’) were the most prestigious and precious. Created over many years to become family heirlooms, baghs were embroidered in silk floss covering the entire base khaddar (cotton) material. They were created by women within their own families, for wearing and presenting on auspicious religious occasions and as markers of significant life events such as marriages and births. Made by Hindu, Sikh and Muslim women they were never intended to be made or sold for a market or gifted to outsiders. The holding aloft of a bagh above of the embroidered fabric. More specifically, narrow strips were sewn together to form a bride as she made her way to the marriage I propose baghs should be seen as conceptual one rectangular piece. Sometimes the strips mandap, or the draping of a bagh upon her maps of ancestral land, daily and seasonal were sewn together after embroidering or the as she entered her new home, marked and interaction with it and the social relationships embroidery only commenced once the strips commemorated significant events both which are renewed and sustained by this had been joined together. -
Kalamkari, the Art of Painting with Natural Dyes
Chitrolekha International Magazine on Art and Design, (ISSN 2231-4822), Vol. 5, No. 2, 2015 URL of the Issue: www.chitrolekha.com/v5n2.php Available at www.chitrolekha.com/V5/n2/08_Kalamkari.pdf Kolkata, India. © AesthetixMS Included in Art Full Text (H.W. Wilson), EBSCOHOST, Google Scholar, WorldCat etc. Kalamkari, the Art of Painting with Natural Dyes Sharad Chandra Independent Researcher Kalamkari means painting with a pen. It is an exquisite form of textile art with a heritage dating back to the ancient times. The origin of the term can be traced to the early period of alliance between the Persian and Indian trade merchants which identified all painted textile art from India as Kalamkari. ‘Kalam’ is the Persian word for pen, and ‘kari’ in Urdu implies the craftsmanship involved. Hence, ‘Kalamkari’ denotes the myriad manifestations of hand painted textiles with natural dyes. The pen referred to in the term is a short piece of bamboo or date- palm stick, shaped and pointed at its end to form a nib. Created without the use of chemicals or machine Kalamkari art is entirely a handicraft using natural or vegetable dyes and metallic salts called mordants to fix the dye into the cotton fibers. An exact resist process, complex and careful dyeing, sketching and painting of the design and, occasionally, even the addition of gold or silver tinsel into it are the other integral components of this art. The Kalamkari works are mostly produced in the small towns of Kalahasti, Machilipatnam and other interior regions of Andhra Pradesh by rural craftsmen and women, and is a household occupation passed from generation to generation as heritage. -
Chikan – a Way of Life by Ruth Chakravarty
N° de projet :ALA/95/23 - 2003/77077 Chikan – A Way of Life By Ruth Chakravarty Chikankari is an ancient form of white floral embroidery, intricately worked with needle and raw thread. Its delicacy is mesmeric. For centuries, this fine white tracery on transparent white fabric has delighted the heart of king and commoner alike. It is centered mainly in the northern heartland of India, namely Lucknow, the capital of a large state, called Uttar Pradesh. It is a complex and elegant craft that has come down to us, evolving, over the years into an aesthetic form of great beauty. That it has survived the loss of royal patronage, suffered deeply at the hands of commercialization, lost its way sometimes in mediocrity and yet stayed alive, is a tribute to the skill and will of the craftspersons who have handed down this technique from one generation to another. There exist several kinds of white embroidery in Europe and across the world, each unique and distinct. Students of this craft like to believe that all forms of embroidery, in some way influence, imitate or complement each other. That may be true to some extent, but right at the onset, let me say that Chikankari is a genre quite unique from other embroideries. Chikankari is at once, simple and elegant, subtle and ornate. This heavy embroidery intricately worked on fine white muslin created a magical effect uniquely its own. The light embroidered fabric was most appropriate for the heat and dust of the North Indian summers. From the time of its inception, Chikan garments spelt class and craft. -
Textile Designs - 1
Textile Designs - 1 1. Crewel Work, Kashmir Textile Designs - 1 2. Embroidered Dorukha Shawl, Kashmir Textile Designs - 1 3. Kinnaur Shawl, Himachal Pradesh Textile Designs - 1 4. Embroidered Chamba Rumal, Himachal Pradesh Textile Designs - 1 5. Bagh Phulkari, Punjab Textile Designs - 1 6. Banarasi Zari Saree, Uttar Pradesh Textile Designs - 1 7. Chikan Embroidery, Kurta, Uttar Pradesh Textile Designs - 1 8. Block Printing, Rajasthan Textile Designs - 1 9. Bandhani Printing, Rajasthan Textile Designs - 1 10. Applique Work, Gujarat Textile Designs - 1 11. Mirror Embroidery, Gujarat Textile Designs - 1 12. Paithani Silk Saree, Maharashtra Textile Designs - 1 Hkkjr us gLrf'kYi dh Js"B ijaijk dks èkjksgj osQ :i esa izkIr fd;k gSA lqUnjrk ls India has inherited a great tradition of handicrafts which has its iw.kZ o lkekftd mi;ksx dh oLrqvksa dh jpuk gsrq ekuo dh ewy vko';drk esa bl beginnings in Man's basic need for creating objects of beauty and social utility. Even simple household articles such as pots, mats and furniture ijaijk dk izkjaHk fufgr gSA ;gka rd fd] crZu] pVkbZ;ka vkSj est] oqQlhZ tSlh lkèkkj.k have been decorated with stylised motifs inspired by nature. ?kjsyw oLrqvksa dks Hkh izo`Qfr izsfjr 'kSyhxr vfHkizk;ksa ls vyao`Qr fd;k tkrk gSA Apart from other handicrafts, India is also famous for the excellence it vU; gLrf'kYiksa osQ vfrfjDr Hkkjr] oL=kksa dh le`f¼ lEcaèkh Js"Brk osQ fy, Hkh has achieved in the rich variety of textiles. Excavations show that, as far izfl¼ gSA [kqnkbZ ls irk pyrk gS fd dkiQh igys] r`rh; 'krkCnh bZlk iwoZ esa lwrh back as in the third millennium B.C, cotton fibre was woven into cloth and rUrq dks oL=k :i esa cquk tkrk Fkk rFkk Nis gq, oL=kksa osQ uewus Hkh izkIr gq, gSaA samples of printed fabrics have also been found. -
Traditional Indian Textiles Students Handbook + Practical Manual Class XII
Traditional Indian Textiles Students Handbook + Practical Manual Class XII CENTRAL BOARD OF SECONDARY EDUCATION Shiksha Kendra, 2, Community Centre, Preet Vihar, Delhi-110301 In collaboration with National Institute of Fashion Technology Traditional Indian Textiles – Class XII Students Handbook + Practical Manual PRICE : ` FIRST EDITION : 2014 © CBSE, India COPIES : No Part of this publication 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 prior permission of the publisher. PUBLISHED BY : The Secretary, Central Board of Secondary Education, Shiksha Kendra, 2, Community Centre, Preet Vihar, Delhi - 110301 DESIGNED & LAYOUT : M/s. India Offset Press, A-1, Mayapuri Industrial Area, Phase-1, New Delhi - 110064 Hkkjr dk lafo/kku mísf'kdk ge Hkkjr ds yksx Hkkjr dks ,d ^¿lEiw.kZ izHkqRo&laiUu lektoknh iaFkfujis{k yksdra=kRed x.kjkT;À cukus ds fy,] rFkk mlds leLr ukxfjdksa dks % lkekftd] vkfFkZd vkSj jktuSfrd U;k;] fopkj] vfHkO;fDr] fo'okl] /keZ vkSj mikluk dh Lora=rk] izfr"Bk vkSj volj dh lerk izkIr djkus ds fy, rFkk mu lc esa O;fDr dh xfjek vkSj jk"Vª dh ,drk vkSj v[k.Mrk lqfuf'pr djus okyh ca/kqrk c<+kus ds fy, n`<+ladYi gksdj viuh bl lafo/kku lHkk esa vkt rkjh[k 26 uoEcj] 1949 bZñ dks ,rn~}kjk bl lafo/kku dks vaxhÑr] vf/kfu;fer vkSj vkRekfiZr djrs gSaA 1- lafo/kku ¼c;kfyloka la'kks/ku½ vf/kfu;e] 1976 dh /kkjk 2 }kjk ¼3-1-1977½ ls ÞizHkqRo&laiUu yksdra=kRed x.kjkT;ß ds LFkku ij izfrLFkkfirA 2- lafo/kku ¼c;kfyloka la'kks/ku½ -
Veeraa Enterprises Chennai, Tamil Nadu, India
Veeraa Enterprises Chennai, Tamil Nadu, India We are one of the leading manufacturers, suppliers and exporters of fancy fabrics like patchwork, pintuck and printed fabrics. These are used to make a variety of home furnishings and textile items like curtains and covers. Veeraa Enterprises Profile Established in the year 1996, we, “Veeraa Enterprises”, are a noted manufacturer, supplier and exporter of patchwork fabrics, fancy patchwork fabrics, zig zag patchwork fabrics, embroidery patchworks fabrics, blue patchwork fabrics, black patchwork fabrics, US patchwork fabrics, frill patchwork fabrics, denim frinches with applique fabrics, border embroidery applique fabrics, pintuck fabrics, embroidered pintuck fabric, denim pintuck fabrics, printed fabrics, printed patchwork fabrics, printed dobby fabrics, batik print fabrics, batik blue fabrics, kalamkari fabrics, checks fabrics, yarn dyed checks fabrics, madras checks fabrics. These are manufactured using quality raw material and are highly praised for attributes such as colorfastness, durability, ease in washing & maintaining and tear resistance. It is largely due to the quality of our fabrics that we have succeeded in putting together an esteemed group of loyal clients and attain high level of customer satisfaction. Our main business motive is to provide best fabrics at market-leading prices. Our team is aided by our sound infrastructure at all stages of production to ensure that the quality of our fabrics remains high. With the support of an able team and a good infrastructure, we have acquired a special place for ourselves in the industry of textiles and furnishings. As we fully understand the demands of our customers, they have a pleasurable experience while dealing with us. -
Traditional Handicrafts of Punjab Developed from Plant and Agro-Waste Materials
DOI: 10.15740/HAS/AJHS/12.2/583-587 esearch aper e ISSN-0976-8351 Visit us: www.researchjournal.co.in R P AsianAJHS Journal of Home Science Volume 12 | Issue 2 | December, 2017 | 583-587 Traditional handicrafts of Punjab developed from plant and agro-waste materials LALITA RANI AND KANWALJIT BRAR Received: 14.07.2017; Revised: 05.11.2017; Accepted: 19.11.2017 ABSTRACT : Punjab has a rich tradition of arts and crafts. The traditional handicrafts of different types made from plant waste materials available in their vacinity were used in every household during the pre-independence period. Doaba and Majha were faster to adapt to the modern life style, while Malwa region with low literacy level continued with the traditional ways of life as well as craft making. But over the last two decades practice of handicraft making had sharp decline even in Malwa region. Thus, to document the valuable basketry craft, a sample of 180 respondents of rural women comprising of 60 women from each of the three selected districts of Malwa region namely, Ludhiana, Patiala and Bathinda, who had developed traditional handicrafts in their life-time was selected purposively. Older women were found to have made fifty or more traditional handicrafts from plant and agro-waste materials in their lifetime. All women used to carry out different activities of practicing craft in their leisure time such as spinning yarn on Charkha, weaving basketry products like Bohey/Chhikkoo, Katnee(s), etc. and embroidering the Phulkaris or baghs. The largest percentage of respondents (28.89%) had made Bohey/Chhikkoo followed by 19.45 per cent respondents who had made Chhabi(an) from plant and waste materials.