2012/13 Annual Report
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Study on Improving the Production Rate by Rapier Looms in Textile Industry Aby Chummar, Soni Kuriakose, George Mathew
ISSN: 2277-3754 ISO 9001:2008 Certified International Journal of Engineering and Innovative Technology (IJEIT) Volume 2, Issue 7, January 2013 Study on Improving the Production Rate by Rapier Looms in Textile Industry Aby Chummar, Soni Kuriakose, George Mathew the company. It is mainly manufactured by the shuttle looms. Abstract— In India the textile industry is growing very fast. Conventional shuttle looms are mainly used during the Most of the earlier established textile industries are using weaving process in the industry. All these shuttle looms are conventional shuttle looms for the production of the cloth. But the too old. In these present conventional shuttle looms, it is advancement in the technology made the textile industry more competitive. The effective usage of the new methods of the necessary to pass a shuttle weighing around half a kilogram weaving technology, which is more energy efficient, makes the through the warp shed to insert a length of weft yarn which production more economical. It is found out that the usage of the weighs only few grams. The shuttle has to be accelerated conventional looms badly affects the cloth production. This study rapidly at the starting of picking cycle and also to be focuses on identifying the problems associated with the low decelerated, stopped abruptly at the opposite end. This production by the shuttle loom and suggesting suitable methods process creates heavy noise and shock and consumes by which these problems can be reduced. considerable energy. Beat-up is done by slay motion which again weighs a few hundred kilograms. The wear life of the Index Terms—Greige Fabric Picks, Rapier Loom, Shuttle Loom. -
HIGHLAND PARK MANUFACTURING COMPANY MILL NO. 3 This Report
HIGHLAND PARK MANUFACTURING COMPANY MILL NO. 3 This report was written on December 3, 1986 1. Name and location of the property: The property known as the Old Highland Park Manufacturing Company Mill No. 3 is located at 2901 N. Davidson Street, Charlotte, North Carolina. 2. Name, address, and telephone number of the present owner of the property: The owner of the property is: Highland Park Group, Inc. 200 Queens Rd. Suite 200 Charlotte, NC 28204 Telephone: (704) 377-4700 3. Representative photographs of the property: This report contains representative photographs of the property. 4. A map depicting the location of the property: This report contains a map which depicts the location of the property. 2901 N Davidson St Map data ©2018 Google 200 ft 2901 N Davidson St Charlotte, NC 28205 At this location Breathe Refuge 4.0 (4) 5. Current Deed Book Reference to the property: The most recent deed to this property is recorded in Mecklenburg County Deed Book 5223, page 325. The Tax Parcel Number of the property is: 083-078-01. 6. A brief historical sketch of the property: This report contains a brief historical sketch of the property prepared by Dr. William H. Huffman. 7. A brief architectural description of the property: This report contains a brief architectural description of the property prepared by Thomas W. Hanchett. 8. Documentation of why and in what ways the property meets the criteria for designation set forth in N.C.G.S. 160A-399.4: a. Special significance in terms of its history, architecture, and/or cultural importance: The Commission judges that the property known as the Old Highland Park Manufacturing Company Mill No. -
Toward Eliminating Pre-Consumer Emissions of Microplastics from the Textile Industry
Toward eliminating pre-consumer emissions of microplastics from the textile industry Photo credit: Mark Godfrey Photo credit: Devan King Abstract There is growing global awareness that microfibers are, we know enough to take microplastics are a potentially harmful action now to reduce the flows of these pollutant in oceans, freshwater, soil and air. materials into natural systems like rivers While there are many important sources of and oceans. The elimination of pre- microplastic pollution, we now know the consumer microfiber pollution will require textile lifecycle of manufacturing, use and changes along all stages of the textile disposal is a major emission pathway of supply chain. These changes include: microplastics. Microplastics emitted during a textile’s lifecycle are referred to as 1. Better understanding the relative microfibers or ‘fiber fragments.’ To date, emissions of microfibers at each much of the attention has focused on the manufacturing step (from fiber to yarn shedding, washing and disposal of to fabric to garment). synthetic textiles by consumers. 2. Developing microfiber control technologies and codifying best However, this is only part of the picture practices. and ignores microfiber leakage during the manufacturing and processing of these 3. Scaling these solutions to Tier 1, 2 and 3 materials. We estimate that pre-consumer suppliers via a combination of textile manufacturing releases 0.12 million regulatory and brand or retailer-led metric tons (MT) per year of synthetic action. microfibers into the environment – a similar 4. Continuing to raise industry, order of magnitude to that of the consumer government and consumer awareness use phase (laundering). That would mean of the topic. -
Textile Manufacturing
Textile Manufacturing Industry Overview Not all textile manufacturing industries produce hazardous you suspect that you generate a waste that is not included in this waste. If, however, you use hazardous solvents and materials summary, contact your state hazardous waste management agency containing toxic chemicals, you might be subject to Resource or EPA Regional office for assistance. Conservation and Recovery Act (RCRA) requirements covering the generztion, transportation, and management of hazardous waste. Waste Minimization An effective waste minimization program can reduce the costs, The following textile manufacturing industry segments are liabilities, and regulatory burdens of hazardous waste manage- covered by this summary: ment, while potentially enhancing efficiency, product quality, and community relations. Waste minimization techniques that can Broad woven fabric mills and wool mills, including help you reduce the amount of hazardous waste that you generate dyeing and finishing include: Knitting mills and knit goods finishing Other dyeing and finishing textile mills Production planning and sequencing Floor covering mills, including dyeing and finishing. Process/equipment adjustment or modification - Raw material substitution Loss prevention and housekeeping Hazardous Wastes from Textile Waste segregation and separation Manufacturing Recycling. Most ofthe hazardous waste generated by textile manufacturers results from the use of solvents. Solvents are used in the dry- Training and supervision of employees implementing waste cleaning of synthetic fiber knit fabrics and woven and wool fab- minimization techniques is an important part of your successful rics; in specialty operations such as tricot and lace splitting or program. Call the RCWSuperfund Hotline toll-free at 800424- solvent scouring; in dyeing operations; and in some finishing op- 9346 (or TDD 800-553-7672for the hearing-impaired) for waste erations for impregnation or coating of textile fibers. -
Cotton and the Community: Exploring Changing Concepts of Identity and Community on Lancashire’S Cotton Frontier C.1890-1950
Cotton and the Community: Exploring Changing Concepts of Identity and Community on Lancashire’s Cotton Frontier c.1890-1950 By Jack Southern A thesis submitted in partial fulfillment for the requirements for the degree of a PhD, at the University of Central Lancashire April 2016 1 i University of Central Lancashire STUDENT DECLARATION FORM I declare that whilst being registered as a candidate of the research degree, I have not been a registered candidate or enrolled student for another aware of the University or other academic or professional institution. I declare that no material contained in this thesis has been used for any other submission for an academic award and is solely my own work. Signature of Candidate ________________________________________________ Type of Award: Doctor of Philosophy School: Education and Social Sciences ii ABSTRACT This thesis explores the evolution of identity and community within north east Lancashire during a period when the area gained regional and national prominence through its involvement in the cotton industry. It examines how the overarching shared culture of the area could evolve under altering economic conditions, and how expressions of identity fluctuated through the cotton industry’s peak and decline. In effect, it explores how local populations could shape and be shaped by the cotton industry. By focusing on a compact area with diverse settlements, this thesis contributes to the wider understanding of what it was to live in an area dominated by a single industry. The complex legacy that the cotton industry’s decline has had is explored through a range of settlement types, from large town to small village. -
Wages and Working Hours in the Textiles, Clothing, Leather and Footwear Industries
GDFTCLI/2014 Wages and Working Hours in the Textiles, Clothing, Leather and Footwear Industries Sectoral Sectoral Activities Department Activities International Labour Office (ILO) Department 4, route des Morillons CH-1211 Genève 22 Switzerland GDFTCLI/2014 INTERNATIONAL LABOUR ORGANIZATION Sectoral Activities Department Wages and working hours in the textiles, clothing, leather and footwear industries Issues Paper for discussion at the Global Dialogue Forum on Wages and Working Hours in the Textiles, Clothing, Leather and Footwear Industries (Geneva, 23–25 September 2014) Geneva, 2014 INTERNATIONAL LABOUR OFFICE, GENEVA Copyright © International Labour Organization 2014 First edition 2014 Publications of the International Labour Office enjoy copyright under Protocol 2 of the Universal Copyright Convention. Nevertheless, short excerpts from them may be reproduced without authorization, on condition that the source is indicated. For rights of reproduction or translation, application should be made to ILO Publications (Rights and Permissions), International Labour Office, CH-1211 Geneva 22, Switzerland. The International Labour Office welcomes such applications. Libraries, institutions and other users registered with reproduction rights organizations may make copies in accordance with the licences issued to them for this purpose. Visit www.ifrro.org to find the reproduction rights organization in your country. Wages and working hours in the textiles, clothing, leather and footwear industries: Issues Paper for discussion at the Global Dialogue -
The Textile Machinery Collection at the American Textile History Museum a Historic Mechanical Engineering Heritage Collection
THE TEXTILE MACHINERY COLLECTION AT THE AMERICAN TEXTILE HISTORY MUSEUM A HISTORIC MECHANICAL ENGINEERING HERITAGE COLLECTION Textiles are an important part of our everyday lives. They clothe and comfort us, protect our first-responders, Introduction filter the air in our automobiles, and form the core of the fuselage in our newest aircraft. We enjoy their bright colors, wrap up in their warmth, and seldom give a second thought to how they make bicycles stronger and lighter or how they might be used to repair our vital organs. As textiles have changed from the first simple twisted fibers to high-tech smart fabrics, the tools and machinery used to make them have evolved as well. Drop spindles and spinning wheels have given way to long lines of spinning frames. And looms now use puffs of air instead of the human hand to insert the weft thread in a growing length of fabric. During the eighteenth and nineteenth centuries, textile manufacture was the catalyst for the Industrial Revolution in America. It was the leading edge in the transformation from an agricultural to a manufacturing economy and started the move of significant numbers of people from rural areas to urban centers. With industrialization came a change in the way people worked. No longer controlled by natural rhythms, the workday demanded a life governed by the factory bell. On the consumer side, industrialization transformed textiles from one of a person’s most valuable possessions to a product widely available at incredibly low prices. For more than a century, textile mills in Great Britain and the United States dominated textile production and led the industrial revolution in both Europe and North America. -
Mariantonia Urru
MARIANTONIA URRU weaving innovation and heritage together MARIANTONIAURRU.COM M/U: weaving innovation and heritage together elegant tapestries and textiles fire-resistant fabrics sound-absorbing, thermo-acoustic panels Since 1981, Italian workshop Mariantonia Urru has been creating textiles with striking patterns, many passed down for generations. M/U calls Samugheo, a village in the heart of Sardinia, home. This area is famous for its living tradition of textile manufacturing, characterized by an ancient symbolic language and traditional loom techniques. Each M/U piece is created using these exclusive Sardinian techniques, including some that were almost forgotten. While rediscovering tradition, the brand constantly focuses on reinventing the ancient art of making fabric with an innovative, modern approach. Tapestries and Wall Textiles We collaborate with many talented artists and designers to create one-of-a-kind wall textiles. Each piece provides an interpretation of heritage - a new telling of the themes, symbols, and ideas held dear by the local Sardinian community. These elements of tradition are expertly woven into every combination of material, color, and design to create tapestries and wall textiles that respect the past while looking to the future. M/U specializes in functional wall coverings, artistic tapestries, and textile installations to create new spaces. Unique by Design Each design and color palette tells a distinct story. Further, due to variations in thread production and weave, no two pieces are exactly alike. Every M/U piece is unique. Stories of land and heritage, told through innovation and beautiful textile design. Mariantonia Urru weaving innovation and heritage together cel. +39 349 327 53 53 tel. -
Savile-Row-Inside-Out.Pdf
Savile Row: Inside Out 1 Savile Row BeSpoke aSSociation he Savile Row Bespoke Association is dedicated to protecting and promoting Tthe practices and traditions that have made Savile Row the acknowledged home of the best bespoke tailoring and a byword for unequalled quality around the world. The SRBA comprises of fifteen member and associate houses, who work together to protect and champion the understanding of bespoke tailoring and to promote the ingenious craftsmen that comprise the community of Savile Row. The SRBA sets the standards that define a Savile Row bespoke tailor, and all members of the Association must conform to the key agreed definitions of a bespoke suit and much more besides. A Master Cutter must oversee the work of every tailor employed by a member house and all garments must be constructed within a one hundred yard radius of Savile Row. Likewise, every member must offer the customer a choice of at least 2,000 cloths and rigorous technical requirements are expected. For example, jacket foreparts must be entirely hand canvassed, buttonholes sewn, sleeves attached and linings felled all by hand. It takes an average 50 plus hours to produce a suit in our Savile Row cutting rooms and workshops. #savilerowbespoke www.savilerowbespoke.com 2 1 Savile Row: inSide out Savile Row: Inside Out looks inside the extraordinary world of bespoke tailoring; an exclusive opportunity to step behind the scenes and celebrate the tailor’s art, the finest cloth and the unequalled expertise that is British Bespoke. A real cutter will be making a real suit in our pop-up cutting room in front of a collection of the work – both ‘before’ and ‘after’ to show the astonishing level of craftsmanship you can expect to find at Savile Row’s leading houses. -
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. -
Fall 2019 Rizzoli Fall 2019
I SBN 978-0-8478-6740-0 9 780847 867400 FALL 2019 RIZZOLI FALL 2019 Smith Street Books FA19 cover INSIDE LEFT_FULL SIZE_REV Yeezy.qxp_Layout 1 2/27/19 3:25 PM Page 1 TABLE OF CONTENTS RIZZOLI Marie-Hélène de Taillac . .48 5D . .65 100 Dream Cars . .31 Minä Perhonen . .61 Achille Salvagni . .55 Missoni . .49 Adrian: Hollywood Designer . .37 Morphosis . .52 Aēsop . .39 Musings on Fashion & Style . .35 Alexander Ponomarev . .68 The New Elegance . .47 America’s Great Mountain Trails . .24 No Place Like Home . .21 Arakawa: Diagrams for the Imagination . .58 Nyoman Masriadi . .69 The Art of the Host . .17 On Style . .7 Ashley Longshore . .43 Parfums Schiaparelli . .36 Asian Bohemian Chic . .66 Pecans . .40 Bejeweled . .50 Persona . .22 The Bisazza Foundation . .64 Phoenix . .42 A Book Lover’s Guide to New York . .101 Pierre Yovanovitch . .53 Bricks and Brownstone . .20 Portraits of a Master’s Heart For a Silent Dreamland . .69 Broken Nature . .88 Renewing Tradition . .46 Bvlgari . .70 Richard Diebenkorn . .14 California Romantica . .20 Rick Owens Fashion . .8 Climbing Rock . .30 Rooms with a History . .16 Craig McDean: Manual . .18 Sailing America . .25 David Yarrow Photography . .5 Shio Kusaka . .59 Def Jam . .101 Skrebneski Documented . .36 The Dior Sessions . .50 Southern Hospitality at Home . .28 DJ Khaled . .9 The Style of Movement . .23 Eataly: All About Dolci . .40 Team Penske . .60 Eden Revisited . .56 Together Forever . .32 Elemental: The Interior Designs of Fiona Barratt Campbell .26 Travel with Me Forever . .38 English Gardens . .13 Ultimate Cars . .71 English House Style from the Archives of Country Life . -
DesignerBrandList
THREDUP LUXE DESIGNER BRAND LIST # 10 Crosby Derek Lam 3.1 Phillip Lim 6397 A A Détacher Alessandra Rich Anna-Karin Karlsson A.F.Vandevorst Alexa Wagner Anthony Vaccarello A.P.C. Alexander McQueen Antonio Berardi A.W.A.K.E. by Natalia Alaverdian Alexander Wang Anya Hindmarch Acne Alexandre Birman Apiece Apart Acne Studios Alexandre Vauthier Aquascutum Adam Lippes Alexis Aquazzura Adam Selman Alexis Mabille Aquilano Rimondi ADEAM Alice McCall Armani Collezioni Adrienne Landau Alix of Bohemia Armani Prive Aether Altuzarra Arthur Arbesser Agnona Alumnae Ashish AKRIS Amelia Toro Atea Oceanie Akris punto Andrew Gn Atlantique Ascoli Alaïa André Courrèges Atlein Alanui Ann Demeulemeester Attico Alberta Ferretti Collection Anna October Au Jour Le Jour Albus Lumen Anna Sui Azzaro Alessandra Chamonix B Baja East Bibhu Mohapatra Brioni Baldinini Bionda Castana Brock Collection Balenciaga Biyan Brother Vellies Balmain Black Fleece Brunello Cucinelli Banjanan Blaze Milano Building Block Banjo & Matilda Bliss and Mischief Burberry Bao Bao Issey Miyake Blumarine Burberry Brit Barbara Bui Bodkin Burberry Prorsum Barbara Casasola Bogner Buscemi Barrie Borgo De Nor BUwood Barton Perreira Bottega Veneta Bvlgari Beaufille Bouchra Jarrar by FAR Belstaff Boyy By Malene Birger Benedetta Bruzziches Brandon Maxwell BY. Bonnie Young Bernhard Willhelm Brian Atwood Byredo Bertoni 1949 C Calvin Klein 205W39NYC Chanel Identification Cinq à Sept Calvin Klein Collection Charles Youssef Clare V. Camilla and Marc Charlotte Olympia Class Roberto Cavalli Camilla Elphick