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Natural Materials for the Textile Industry Alain Stout
English by Alain Stout For the Textile Industry Natural Materials for the Textile Industry Alain Stout Compiled and created by: Alain Stout in 2015 Official E-Book: 10-3-3016 Website: www.TakodaBrand.com Social Media: @TakodaBrand Location: Rotterdam, Holland Sources: www.wikipedia.com www.sensiseeds.nl Translated by: Microsoft Translator via http://www.bing.com/translator Natural Materials for the Textile Industry Alain Stout Table of Contents For Word .............................................................................................................................. 5 Textile in General ................................................................................................................. 7 Manufacture ....................................................................................................................... 8 History ................................................................................................................................ 9 Raw materials .................................................................................................................... 9 Techniques ......................................................................................................................... 9 Applications ...................................................................................................................... 10 Textile trade in Netherlands and Belgium .................................................................... 11 Textile industry ................................................................................................................... -
Pipe Band Jackets
Feather Bonnet Hackle and Cap Badge Guards Doublet Plaid Cross Belt Since 1950 Hardies have provided Pipe Bands around the world with a dedicated bespoke service. With over 50 years experience playing in Waist Belt Pipe Bands at all levels we have the knowledge and expertise to deliver Hand Made Heavy Weight Kilt uniforms to ensure your Pipe Band presents a smart and professional Military Doublet image for competitions, parades and public performances. Kilt Pin Our Piper range of uniform products have been designed specifically Horse Hair Sporran for Pipe Bands providing quality, durability and comfort. We offer two complete uniforms known as No.1 and No.2 dress. Hose Tops and Garter Flashes No.1 dress is a magnificent and grand uniform worn by Pipe Bands Spats featured in Tattoos and Highland Gatherings around the world. It will add a touch of class to any occasion such as Weddings, Corporate Brogues Events and Burns Suppers. Competition Pipe Bands today wear No.2 dress as it is comfortable to No.1 Dress wear and more affordable. This uniform offers many options to meet the needs of the modern day Pipe Band and it can be customised to This style of uniform is based on the include band and sponsors logos. requirements set out by the regiments within the British Army. Doublets can be decorated to show the rank and positions within a Pipe Band were we can advise what is appropriate. We offer two styles of doublets known as Military and Guards pattern, available in 19oz wool barathea in black, navy, bottle green or rifle green with silver or gold braid. -
Liniment a Close Two-Cent Stamp for Repb- Form of Construction Insures the Best Can Have in the House
Effective Costumes home “Two bottles the American Cured My Wm A.RADFORD rngmSKm Rheumatism’’ EDITOR Mr. William A. Radford will answer way on the outside may be considered questions and give advice FREE OF practically fireproof. COST on all subjects pertaining to the There is no combination of subject of building for the readers of mate- this paper. On account of his wide expe- irals more pleasing to the eye than rience as Editor. Author and Manufac- this high grade face brick and the turer, he Is, without doubt, the highest cement plaster In a harmonizing col- authority on all these subjects. Address or. As far as warmth and freedom foundrelief at all Inquiries to William A. Radford. No. person IS4 Fifth Ave.. Chicago, 111., and only en- from dampness are concerned this got two bottles and they cured me. I think it is the best Liniment a close two-cent stamp for repb- form of construction Insures the best can have In the house. Ishall always keep a bottle in my house as long as I possible results, and the expense Is can get it”—Mrs. E. R. Wallace, Morrisons, Va. The well-to-do suburban builder Is getting rather particular about the Another Letter. kind of a house he puts up. It Is not Mrs. James McGraw, of 1216 Mandeville St., New Orleans, La., writes: — enough to simply provide comfortable “ I take pleasure in writing to you that I had a pain in my arm for five years, shelter for his family and have room and I used enough for all; but the general style and appearance of the house has to be given due thought so that it will work In well with Its surroundings and con- form In size and style to what his friends and neighbors consider neces- sary for his home. -
Kerr, Brown & Co., Hamilton, CW, Importers
,%.^a. I IMAGE EVALUATION TEST TARGET (MT-3) mUS, 921 £ lis. 12.0 Hi JA 11.25 U 116 V ^ ip 'z r \ iV ^«> [V *V>^V ^ Photographic 23 WEST MAIN STREET Sciences WEBSTER, N.Y. 14580 (716) 872-4503 Corporation ) f*^^<Sf '^.\ <^ ^fe> ^. CIHM ICIMH Microfiche Collection de Series microfiches (l\Aonographs) (monographies) Canadian Institute for Historical Microreproductions / Institut Canadian de microreproductions historiques p Us <rVmr-T>rr Th Technical and Bibliographic Notes / Notes techniques et bibliographiques to The Institute has attempted to obtain the best original L'Institut a microfilm^ le meilleur exemplaire qu'il copy available for filming. Features of th s copy which lui a M possible de se procurer. Les details de cet may be bibliographically unique, which may alter any exemplaire qui sont peut-£tre uniques du point de vue of the images in the reproduction, or which may Th( bibliographique, qui peuvent modifier une image significantly change the usual method of filming, are poi reproduite. ou qui peuvent exiger une modification checked below. of dans la methode normale de f ilmage sont Indiques filn ci-dessous. Coloured covers/ Coloured pages/ Couverture de Ori D couleur Pages de couleur b«{ th* Covers damaged/ Pages damaged/ I I •ioi Couverture endommagte Pages endommagees oth fir* Covers restored and/or laminated/ Pages restored and/or laminated/ •ioi Couverture restauree et/ou pelliculie D Pages restaurees et/ou pellicultes or ii Cover title missi ng/ Pages discoloured, stained or foxed/ Le titre de couverturecouv< manque Pages decolorees, tachetees ou piquees Coloured maps/ The I I Pages detached/ thai Caites giographiques en coule^jr Pages detaches TINi whii Coloured ink (i.e. -
Women's Uniforms 1 Sept/Oct 2005 by Marie Robinette € in the Morris
By Marie Robinette € In the Morris and Company, Inc brochure from 1929 they ask, “Does a smile count? Can it cheer the patient and speed recovery? Then so does the costume of the nurse.” The uniforms of the Model A era reflected style and quality in every line. The nurses of the era who wore the newest styles in uniforms would not lose her personality by wearing a uniform that was unattractive. The styles were a mirror of trends in street dresses. Uniforms were available to the professional nurse, the business women and home service too. When we think of women’s uniforms during the Model A Era we tend to think of a nurse’s sterile white uniform. But, some nurse’s uniforms were offered in blue, pink, green and orchid fast color Chambray. Pin stripe prints were also available. Women’s Uniforms 1 Sept/Oct 2005 #2415 – Made of Ryster 5-Star #2412 – Made of fine weave #1889 – A new model at a low two-ply Poplin. Has Peter Pan 2-ply Dundalk Poplin. Has 8 price. Made of Linatex Nurses’ collar, French turnover cuffs inverted shoulder tucks, four Suiting with a high turn-over and two shaped patch pockets. on either side of long flat collar. scalloped collar. New form-fitting The four narrow inverted tucks Central from opening to waist sleeves.Dutch turned cuffs. Trimmed on either side of the yoke give line. Two bellows patch pockets. with detachable ocean pearl buttons a slight fullness over the bust. French cuffs. Detachable belt and sloped welt pockets Detachable ocean pearl buttons, and detachable ocean pearl and detachable belt. -
Kilts & Tartan
Kilts & Tartan Made Easy An expert insider’s frank views and simple tips Dr Nicholas J. Fiddes Founder, Scotweb Governor, Why YOU should wear a kilt, & what kind of kilt to get How to source true quality & avoid the swindlers Find your own tartans & get the best materials Know the outfit for any event & understand accessories This e-book is my gift to you. Please copy & send it to friends! But it was a lot of work, so no plagiarism please. Note my copyright terms below. Version 2.1 – 7 November 2006 This document is copyright Dr Nicholas J. Fiddes (c) 2006. It may be freely copied and circulated only in its entirety and in its original digital format. Individual copies may be printed for personal use only. Internet links should reference the original hosting address, and not host it locally - see back page. It may not otherwise be shared, quoted or reproduced without written permission of the author. Use of any part in any other format without written permission will constitute acceptance of a legal contract for paid licensing of the entire document, at a charge of £20 UK per copy in resultant circulation, including all consequent third party copies. This will be governed by the laws of Scotland. Kilts & Tartan - Made Easy www.clan.com/kiltsandtartan (c) See copyright notice at front Page 1 Why Wear a Kilt? 4 Celebrating Celtic Heritage.................................................................................................. 4 Dressing for Special Occasions.......................................................................................... -
Mythological Intertextuality in Nineteenth Century Ballet Repertory
Skidmore College Creative Matter MALS Final Projects, 1995-2019 MALS 5-20-2006 Mythological Intertextuality in Nineteenth Century Ballet Repertory Liane Fisher Skidmore College Follow this and additional works at: https://creativematter.skidmore.edu/mals_stu_schol Part of the Dance Commons, and the History of Art, Architecture, and Archaeology Commons Recommended Citation Fisher, Liane, "Mythological Intertextuality in Nineteenth Century Ballet Repertory" (2006). MALS Final Projects, 1995-2019. 41. https://creativematter.skidmore.edu/mals_stu_schol/41 This Thesis is brought to you for free and open access by the MALS at Creative Matter. It has been accepted for inclusion in MALS Final Projects, 1995-2019 by an authorized administrator of Creative Matter. For more information, please contact [email protected]. Mythological Intertextuality in Nineteenth Century Ballet Repertory Master of Arts in Liberal Studies Thesis Skidmore College Liane Fisher March 2006 Advisor: Isabel Brown Reader: Marc Andre Wiesmann Table of Contents Abstract .............................. ... .... .......................................... .......... ............................ ...................... 1 Chapter 1 : Introduction .. .................................................... ........... ..... ............ ..... ......... ............. 2 My thologyand Ballet ... ....... ... ........... ................... ....... ................... ....... ...... .................. 7 The Labyrinth My thologies .. ......................... .... ................. .......................................... -
Demorest's Family Magazine. August 1881. Vol. 17, No. 8
NO. CXCIX. AUGUST, 1881. VOL. XVII. NO. 8. BY ELLA WHEELER ELEN and Sara Rivera, the village “ Oh, of course,” Helen replied a little I The father was a little more difficult to ■ merchant's daughters at Berryville, abashed; “ I knew that of course, but it seems reconcile. sat out on the pleasant veranda I too bad to be tied down to this little town all “ I meant you and your mother should both I one mild May afternoon. your life when there are so many larger places. | go away this summer,” he said. “ Helen was H Or rather Sara sat in a little But then you have always been here, and 1 gone half the winter, and I thought it but fair rocker, sewing. She was making a dress for | don't suppose it seems to you as it does to me. that she should stay at home and let you go her baby brother. And Helen lounged in the I I know I am spoiled for a quiet life, and I j now.” hammock with a novel. must go to the sea-shore. Badie, try and make “ Mother can go all the same,” Sara re Suddenly Helen closed her book, and spoke. papa see that a great deal depends upon it! 1 sponded. * * She could not go before the last “ Sadie dear,” she began. “ I want you to shall meet so many people, you know—my of July any way. And I do not care at all tease papa to let me go to the sea-sliore with kind of people who will all be of social benefit about a change. -
Historic Costuming Presented by Jill Harrison
Historic Southern Indiana Interpretation Workshop, March 2-4, 1998 Historic Costuming Presented By Jill Harrison IMPRESSIONS Each of us makes an impression before ever saying a word. We size up visitors all the time, anticipating behavior from their age, clothing, and demeanor. What do they think of interpreters, disguised as we are in the threads of another time? While stressing the importance of historically accurate costuming (outfits) and accoutrements for first- person interpreters, there are many reasons compromises are made - perhaps a tight budget or lack of skilled construction personnel. Items such as shoes and eyeglasses are usually a sticking point when assembling a truly accurate outfit. It has been suggested that when visitors spot inaccurate details, interpreter credibility is downgraded and visitors launch into a frame of mind to find other inaccuracies. This may be true of visitors who are historical reenactors, buffs, or other interpreters. Most visitors, though, lack the heightened awareness to recognize the difference between authentic period detailing and the less-than-perfect substitutions. But everyone will notice a wristwatch, sunglasses, or tennis shoes. We have a responsibility to the public not to misrepresent the past; otherwise we are not preserving history but instead creating our own fiction and calling it the truth. Realistically, the appearance of the interpreter, our information base, our techniques, and our environment all affect the first-person experience. Historically accurate costuming perfection is laudable and reinforces academic credence. The minute details can be a springboard to important educational concepts; but the outfit is not the linchpin on which successful interpretation hangs. -
Paper 2: the Woollen Cloth Industry in the Lim Valley © Richard Bull & Lyme Regis Museum Revised with Extra Images July 2015
Industrial Lyme - Paper 2: The Woollen Cloth Industry in the Lim Valley © Richard Bull & Lyme Regis Museum Revised with extra images July 2015 Like all research, this is on-going. If you know more, or are descended from any of the families involved, please get in touch with the author via Lyme Regis Museum. Summary Woollen cloth has been made in the Lim Valley from at least medieval times, but this paper is more about the factories in Lyme Regis and Uplyme that made high-quality West of England coat cloths. The factories in Lyme were bankrupt in 1847, leaving the Uplyme factory to soldier on against Yorkshire competition until it was destroyed by fire in 1866, whilst being modernised. In Lyme the factories were started up again in the 1850s to make silk thread and hemp twine, but only for a short period; these are the subjects of other papers in this series. This paper contains: the background to the trade, the history of the factories and a walking trail to see the mills. Cloth making – the essential process in a nutshell Sheep fleeces are packed on the farm into big canvas bags called woolsacks. At the factory the fleeces are scoured (washed) to remove lanolin (wool- grease), dirt and adhering vegetable material. Then the fleeces are scribbled (torn up into pieces), combed and carded to produce rovings, long strips of wool ready for spinning. Washed and combed fleece being fed into a carding machine at Coldharbour Mill, Uffculme, Devon Industrial Lyme Paper 2 – The Woollen Cloth Industry © R Bull & Lyme Regis Museum 1 Spinning means to draw out and twist - and by this process the scales of the individual wool fibres lock together to produce a thread known as a single. -
The Adventures of Mr. Verdant Green [Electronic Resource]: an Oxford
. SjHasajj;--: (&1&MF 1 THE VENTURES tw MM **> 'SkSSi *"3 riLLlAM PATEiiSGN, EDINBURGH Um LOKLOj , . fJ tl^OTWltiBttt y :! THE ADVENTURES OF MR. VERDANT GREEN. : ic&m MMwmmili¥SlW-ia^©IMS OF yVLiMR. Verbint ^Tf BY CUTHBERT BEDE, B.A., WITH HalaUSTHANIONS 38 Y THE AUTHOR, LONDON JAMES BLACKWOOD & CO., LOVELL'S COURT, PATERNOSTER ROW. : — THE ADVENTURES MR. VERDANT GREEN, %n (f^forb Jfwsjimatr. BY CUTHBERT BEDE, B.A. ttlj ^ximcrouS iFIludtrattond DESIGNED AND DRAWN ON THE WOOD BY THE AUTHOR. —XX— ' A COLLEGE JOKE TO CURE THE DUMPS.' SlUlft. ONE HUNDRED AND TWENTY-SIXTH THOUSAND. LONDON JAMES BLACKWOOD & CO., LOVELL'S COURT, PATERNOSTER ROW. CONTENTS. CHAPTER I. PACE Mr. Verdant Green's Relatives and Antecedents .... I CHAPTER II. Mr. Verdant Green is to be an Oxford-man y CHAPTER III. Mr. Verdant Green leaves the Home of his Ancestors ... 13 CHAPTER IV. Mr. Verdant Green becomes an Oxford Undergraduate . .24. CHAPTER V. Mr. Verdant Green matriculates, and makes a sensation . .31 CHAPTER VI. Mr. Verdant Green dines, breakfasts, and goes to Chapel . .40 CHAPTER VII. " Mr. Verdant Green calls on a Gentleman who is licensed to sell " . 49 CHAPTER VIII. Mr. Verdant Green's Morning Reflections are not so pleasant as his Evening Diversions 58 vi Contents. CHAPTER IX. ,AGE Mr. Verdant Green attends Lectures, and, in despite of Sermons, has dealings with Filthy Lucre 67 CHAPTER X. Mr. Verdant Green reforms his Tailors' Bills and runs v^ "'h°rs. He also appears in a rapid act of Horsemanship, and i.-Js Isis cool in Summer 73 CHAPTER XI. -
Commercial the Future of Textile Flooring Bolon Artisan Ivory, Botanic Osier and Botanic Picea Contents
Commercial The Future Of Textile Flooring Bolon Artisan Ivory, Botanic Osier and Botanic Picea Contents 03 Company Overview 06 Product Overview 08 Performance Benefits 11 Commercial Portfolio 13 Work Spaces 17 Meeting Rooms 21 Corridors 25 Reception and Waiting Areas 29 Break-out Spaces 33 Dining Spaces 37 Stairs 39 Bolon Green 41 Care and Maintenance 03 The Story of Bolon The Company The History Bolon (est. 1949) - A third-generation family- Over 60 years ago in Sweden, an idea was owned Swedish design company and the creator born to turn textile waste into rag rugs and the of woven vinyl flooring. Bolon products are Bolon story began. Bolon’s initial product was trend-setting with distinct focus on innovation, revolutionary at the time, and it characterised a quality and sustainability. The designs deliver desire to lead rather than to follow. The man who the beauty of a woven textile with the benefits lit the spark was Nils-Erik Eklund, the founder of resilient flooring – long life cycles and ease of Bolon. Today, his granddaughters, Annica of installation and maintenance. The Bolon and Marie, continue to carry the torch. Since portfolio encompasses an infinite range of they took over the company from their parents design possibilities, suitable for all commercial in 2003, they have been on a mission to make applications, including indoor and controlled Bolon a design-led innovator and fuse the once outdoor flooring, wall-coverings and area rugs. conservative flooring company with the limitless Head-quartered and manufactured in creativity found in fashion, art, architecture and Ulricehamn, a town in the heart of Sweden’s interior design.