Woven Textiles

The weft straightener is an intricate product. But how to produce robust and durable products? Our hope is to produce weft straighteners, even though reasonable price, much reliable in many respects from the view point of customers. It is a product, not research. Photo-electric things, image processing cameras and other state-of-the-art technologies are accessible to everybody; however, the most important thing is who can simplify the system, minimize the cost and “Satisfy Customers!”

This paper examines traditional chok weaving in Northern Thailand and makes recommendations about how design can contribute to its viable future while maintaining its cultural significance. This research is the culmination of extensive field research, comprising interviews, observations, and follow-up validations. The following includes background and context, especially with respect to the relationships between craft, design, and sustainability, looking specifically at the Quadruple Bottom Line of Design for Sustainability, which takes a holistic approach to the issues. The specific area for the fieldwork is also identified and described. Following this, the methodology is introduced along with the development of criteria for selecting case studies. After describing the data collection, analysis and validation, these findings are developed, and key recommendations are described and presented as components within an overall framework. This leads to a series of outputs in the form of...

Created in the 13th to 14th century, the aumônière or alms bag central to this thesis was preserved for centuries in the treasury of the Cathedral of Como, Italy, before being presented to the Abegg-Stiftung for conservation. The object had been stored folded in a silver chest since 1586, during which time, creases had formed throughout its surface. The linen lining that historically formed the shape of the aumônière also held the creases with great tenacity, contributing to the distortion of the object, endangerment of the fragile silk threads and obfuscation of the unique tapestry-woven figurative depictions. Due to the multifaceted nature of materials used in this object, including membrane metal threads, vibrantly dyed silks, starched linen cloth, an iron opening-ring and brass and/or bronze chain links attached to a pendant of the same material, an adaptive conservation strategy was devised. Research into the various components of the object, scientific analyses and surrogate tests aided in the formation of a conservation approach. To establish an appropriate treatment , various humidification procedures were considered, and various tests performed on a reconstruction of the object. A minimally invasive ultrasonic humidification treatment was tailored to meet the preservation requirements for silk, while mitigating risks of oxidation and corrosion of the membrane metal threads and iron ring. Finally, the damaged areas were overlaid with silk crepeline, and a support form was made to prevent future distortions of the aumônière's surface in case of fluctuations in relative humidity. This treatment allowed the object to be successfully relaxed and returned to its original shape, while ensuring its long-term preservation.

Linings used in garment construction provide comfort for the wearer, preserve the shape of a garment and conceal constructional details thus improving both the garment's appearance and performance. The aim of this research was to assess the performance of three most patronized lining fabrics on the Ghanaian market. Three different brands of lining fabrics commonly used for garment construction were selected and labelled A, B and C. A total number of 63 specimens were used for the study. The parameters tested included weave type, thread count, weight, tensile strength, dimensional change to washing and colourfastness. The average values of the parameters tested were recorded. The results of the study showed that the performance properties of the selected lining fabrics varied. The fabric brand C performed best in terms of colourfastness to crocking, change in colour to washing and dimensional stability. All the evaluated lining fabric samples met standard specifications for fibre content, weave type and strength, but not weight, while some performed better in some parameters tested than others. The thread count reflected the weight and strength of the investigated samples, but not the dimensional stability. As thread count increased the weight and strength also increased. It is therefore, recommended that consumers of lining fabrics pay much attention to their selection as their performance properties vary and can affect the fashion fabrics. Further research works can be conducted where the number of lining fabric brands will be increased to help determine the compliance of manufacturers to specifications for such products.

The influx of Chinese-made African ethnic dress has been central to debates about the consequences of the growing Chinese presence in Africa. Exploring the reception of the Chinese-produced capulana in Mozambique and net’ela in Ethiopia, we demonstrate that Mozambican and Ethiopian manufacturers and traders, from the grass roots up to cultural elites, engage with Chinese imports with creativity and verve. While welcoming Chinese materials for their affordability, bold and bright colours and suitability for dressmaking, they fashion them in ways that fit their own tastes and the local fashion trends. We distinguish three practices by which people do this: first, by incorporating Chinese materials or design elements into their own products; second, by co-creating new designs and dress with their Chinese counterparts; and third, by altering the imported fabrics. Apart from fashioning imports, some manufacturers use strategies to distinguish their own products from Chinese counterparts. These strategies include naming practices linked to the stories of their origin and alterations to the material.

In order to understand the fundamental forces which have affected the marketing of natural fibres, especially wool, it is necessary to study the fibre market as a whole and in particular to take account of the development of man-made fibres. In considering some of the more important marketing problems encountered by natural fibres, mainly wool and cotton, we shall explore ways in which these are interconnected with the nature and structure of the man-made fibre industry. The principal problem discussed in this book, the presence of large and possibly growing fluctuations in the price of natural fibres, can only be adequately comprehended if the nature of man-made fibre production and marketing is specifically considered. This and the next Chapter provide a general world-wide background on the development, structure and nature of competition in the textile fibre industry.

Started in 1961 as a mechanical workshop for textile’s machines spare parts and gradually begins to produce machines to cut, brush and finishing corduroy, thus satisfying the specific requirements of the numerous corduroy manufacturers of the area.

Its activities throughout the 60's and 70's grows considerably thanks to a vast extension of the range of machines produced.
In the beginning of the 80's, Carù develops its first Sueding Machine, internationally patent for their high efficiency.
In the following years these machines were diversified and perfected, both technically and production-wise, so as to completely satisfy all sueding requirements.

In the same time, taking advantage of it's deep knowledge of composite materials (carbon fibra) and of the most sophisticated automation and electronic storage systems, Carù begins to produce highly customised Raising, Shearing and Cleaning machines. With more than 40 year old of experience, Caru’ have occupied a position of first importance in mechanical textile field all over the world.

As a part of our mid-term examination, we have been given to complete an assignment on different types of fabrics. Hence I have chosen 5 fabrics from Knit and 5 fabrics from woven. I have attached samples & described their uses. The chosen Fabrics are mentioned as follow:

KNIT FABRICS:
1. Single Jersey
2. Waffle
3. Rib
4. Fleece/Terry
5. Pique Polo

WOVEN KNIT FABRICS:
1. Poplin
2. Flannel
3. Oxford
4. Denim
5. Georgette

This book deals with an issue that is central to the study of the classical past, namely, what were the driving forces behind the artistic activity that occurred in fifth century Athens--artistic activity of which we have many physical vestiges, and which inspired a classical tradition that has spanned more than two millennia? By examining metaphors of weaving (especially in Euripides’ Ion) and descriptions of ancient textiles, and comparing them with what can be gleaned from the scanty archaeological record, it has been possible to show that the competitive creation of pictorial cloths (notably of the peplos made every four years for the Great Panathenaea) may have provided one of the dynamos that generated such creativity. Tapestry workshops (usually run by men, with women in a subsidiary role) also contributed to the progressive enrichment of the household environment that took place between the early fifth century and the mid-fourth. Wall-hangings (which might double up as garments) were employed in the dining rooms of the rich, and also in the temporary structures erected at festivals

Neural network is a computational structure. A neural network is a massively parallel distributed processor made up of simple processing units, which has a neural propensity for storing experiential knowledge and making it available for use. It has capability to organize its structural constituents, known as “Neurons”. It can perform certain computations (e.g. fabric pattern, fabric defects, fabric wrinkle, etc.) many times faster than the fastest computer. Artificial Neural Network (ANN) is a field of computer science that seeks to understand and implement computer based technology. The Neural Network is understood on the basis of their properties, construction, classification - based on application, advantages of neural computing.
Fabric engineering needs a thorough understanding of the functional properties and their construction parameters. When the relationship between a set of interrelated properties goes beyond the complete comprehension of the human brain, neural networks (NNs) could be used to find the unknown function. Neural network describes the method, for the prediction of both construction and performance parameters of fabrics. Accordingly, constructional parameters are used as input for predicting the performance parameter in forward engineering, and the parameters are reversed for the reverse engineering prediction. Comparison between actual results and predicted results is made. An expert system with an embedded artificial neural network (ANN) is also used, with its functionality toward engineered fabric manufacturing.

проанализировано основные исторические аспекты развития искусства вязания в гуцульской традиционной одежде конца ХІХ – начала ХХІ века. Рассмотрено ключевые факторы, повлиявшие на его эволюцию: промышленные и этнографические выставки, художественно-профессиональное образование, взаимовлияние народной традиции и модных тенденций и т.д.
Ключевые слова: вязание, выставки, рукоделие, мастерские («робитни»), художественные промыслы, народная традиция, капчуры, нараквици, рукавици, штуци, орнамент.

Es un texto que recupera la historia de la vestimenta en la región sur de la Ciudad de México: Xochimilco y Milpa Alta.

El texto se divide en tres partes que configuran a los textiles como patrimonio, así como una guía para la elaboración del tejido en telar de cintura, así como el teñido con tintes naturales.

Since 1931 MONTI-MAC means AUTOMATION in the stitching and cutting processes of traditional and technical textiles.

The mainly fields of application of our products are the following :
 "traditional fabrics" where we are in a position to supply: automatic GREY PREPARATION LINES for woven and knitted fabrics and AUTOMATIC STITCHING and HEMMING machines for HOME TEXTILE (terry towels, bed sheets, pillow cases, bags etc).
 "technical fabrics" where we are in a position to supply automatic machines for GEOTEXTILE, NET FOR AGRICOLTURE, KEVLAR, FIBER GLASS etc. Any project is followed directly by our supervisors from the development of the project, manufacturing and commissioning / start up in the factory of the customer to post sale service. Actually we are very proud to announce that we are in a position to assist our customers in the World with local service and technical staff directly trained in Italy. Thanks at least to the purchasing of the know-how of the factory Elcu Sud Impianti, actually we are in a position to supply PORTABLE sewing machines for textile and no-textile applications as the "bag closer" in chemical industry, pet food, row materials, food etc. We have also our THREAD DIVISION suitable to assist ALL our customer in the right choice of the thread to use for a certain type of process.

El presente artículo tiene como propósito rastrear histórica y etnográficamente un gabán de uso exclusivamente masculino, tejido en telar de cintura en varias comunidades zapotecas del sur de Oaxaca, cuyo nombre es una derivación de la palabra nahua quechquémitl, con la forma españolizada " casqueme " y la zapotequización " kaxkem ". En su manufactura se empleaban originalmente fibra de lana y chichicastle, tintes naturales como grana cochinilla y añil, así como los colores naturales de ambas fibras. Además del abordaje histórico y etnográfico, en el artículo se plantea una hipótesis sobre la reutilización del nombre nahua de una prenda femenina usada en el centro y norte del país, como es el quechquémitl, para denominar al gabán masculino en la región zapoteca del sur. palabras clave Gabán, tradición textil, telar de cintura, lana, chichicastle. absTracT This article aims to track the history and ethnography behind an overcoat designed only for men known as " casqueme ". The garment is made with a backstrap loom in different Zapotec 1 El presente trabajo forma parte de una investigación mucho más amplia que versa sobre la tradición textil en la región zapoteca del sur de Oaxaca, en particular en comunidades de los distritos de Miahuatlán, Loxi-cha y Yautepec, la cual se realiza como parte de una estancia posdoctoral en el Instituto de Investigaciones Estéticas de la Universidad Nacional Autónoma de México. Para la preparación de este texto, agradezco a Alejandro de Ávila por compartir diversas consideraciones respecto a los gabanes producidos en la región zapoteca del sur y de su tradición textil en general, así como la mención de algunas referencias bibliográfi-cas en las que se registra dicha prenda, en particular, mediante el calificativo de casqueme o kaxkem.

Wool garters, woven on a rigid heddle band loom, based on finds from London, late 14th century. Information on the weaving and dyeing of the garters.

This is my research - the appendices listed refer to other authors' works, and are omitted.

In the middle 1980's the Anatolian Kelim quite suddenly became the prime genre of oriental carpet to generate research and collector interest.
The mechanics behind this have remained unknown to the public and even to many of the particpants.
This long paper for the first time exposes what happened, who was responsible as well as much of the behind the scene story.
But there is far more than social history here, the author, who was at the epicenter, sets out to codify the Anatolian Kelim by proving there is a tiny, actually only 11 example, group of masterpiece archetypes which have influenced the production of tens of thousands later examples.
Within this premise and with voluminous examples this paper makes clear and demonstrates the cohesive and proprietary nature of the Anatolian Kelim.
It also showcases the magic, mystery and beauty of those archetypal examples.
***CLICK ON THE LINK TO weavingartmuseum.org TO READ THIS PAPER***

[French translation of "Ancestral Plaited Mats of Madagascar" as published in: "Arts & Cultures" 2018: pp. 210-223, French edition.] (Genève: Musée Barbier-Mueller). Purchase full journal at:
http://www.barbier-mueller.ch/store/index.php?dispatch=products.view&product_id=191
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L’objet de cet article est de faire part aux lecteurs d’Arts & Cultures des résultats des recherches récentes menées sur les collections de Madagascar rassemblées dans les années 1890 par le collectionneur américain d’histoire naturelle William Louis Abbott (1860-1936), pour le compte de la Smithsonian Institution à Washington. L’objet de cette étude est une collection en grande partie non publiée, saisissante d’un point de vue esthétique, de nattes tressées datant du XIXe siècle, assemblée en 1895. La collection d’Abbott avait pour fin l’étude dans un cadre scientifique contemporain – bien qu’obsolète aujourd’hui – de l’évolution sociétale telle que mesurée par la comparaison d’artefacts matériels de différentes cultures. Soigneusement conservés dans les espaces de stockage de la collection, ces objets sont, dans l’ensemble, restés inutilisés. Il en va de même pour d’autres collections du XIXe siècle assemblées pour l’étude de théories oubliées depuis longtemps et  qui sont aujourd’hui disponibles pour être réinterprétées et envisagées à la lumière des objectifs du XXIe siècle. Dans cette collection, les étiquettes manuscrites détaillées d’Abbott qui accompagnent les objets dont il a fait donation ont été bien conservées, complétant les informations contenues dans sa correspondance et ses notes de terrain conservées dans divers archives et dépôts de la Smithsonian.

One of the most famous antique carpets, the Dragon and Phoenix rug now in Berlin: Museum fur Islamische Kunst, inventory # I. 4, has been unconvincingly and vaguely attributed to the 15th century as the work of Qaraqoyunlu Turkmen Dynasty.  This is in part due to late 19th and early 20th German scholarship that assumed rugs from the Near East were automatically the work of Islamic craftsmen and women, particularly Turkmen and later Ottoman, but with no precise documentation.  This general undocumented supposition also applied to Oriental carpets depicted in hundreds of Renaissance Italian paintings, although all of them are presented in a Christian context, particular associated with the Virgin Mary.  The author presents firm documentation involving both historical but especially earlier iconographical examples of the dragon-phoenix motif in Armenian art of the late 13th century, borrowed directly from the source of this coupling of animals, China during the Yuan Mongol Dynasty.  He suggests that its most convincing provenance is Armenia perhaps as early as the 14th century.

A fabric can reflect, absorb or transmit visible light falling on it. The hue of a fabric depends on the extent to which the light is reflected, absorbed or transmitted. Thus, the optical properties of fabrics need to be taken into consideration when dyeing, printing or color matching fabrics.

ICR para obtener el grado de maestra en ciencias y artes para el diseño, área de concentración Patrimonio Cultural por la Universidad Autónoma Metropolitana Unidad Xochimilco.

La presente investigación se ubica geográficamente en los Altos de Chiapas, donde habitan de diversas comunidades tzeltales y tzotziles. Ésta es una zona reconocida por albergar a una gran cantidad de tejedoras de textiles. Ahí se conserva la memoria cultural de los antepasados a través de su lengua materna, prácticas sociales y
tradiciones, las cuales tienen una estrecha relación con la visión del cosmos.
Por medio del estudio de los textiles durante toda la Idónea Comunicación de Resultados (ICR) se buscará visibilizar  a las mujeres que tejen, portan los textiles como parte de su identidad y mantienen un proceso de recreación, pues ellas han preservado y protegido su patrimonio cultural material e inmaterial por generaciones existente en sus íconos. 

https://repositorio.xoc.uam.mx/jspui/handle/123456789/429?mode=full

The multi-coloured and richly patterned tablet-woven ribbons from the Iron Age salt-mines of Hallstatt gave the impetus to a lot of archaeological experiments. They concerned with the reconstruction of the weaving-technique, so pattern diagrams had to be prepared in order to analyse the patterns and to reconstruct them. The weaving-experiments with hand-spun woollen threads showed that the fine yarn of the original fabrics is not easy to reproduce and there is some pre-treatment of the threads necessary to achieve good weaving results with tablets of various materials such as clay, wood or leather. An interesting theme is the labour requirement of the work, which can give a better understanding of prehistoric life.

In order to be able to understand better the general context of textile production in European prehistory, it is necessary to get to grips with spindle whorls – the commonest textile-related artefacts found on archaeological sites. Tests were made to establish the efficiency of various spindle whorl forms from all horizons of prehistory (Neolithic to Iron Age); measurements were taken of spindle whorl twist frequency and twist duration, together with the yarn strength achieved with the spindles. This all offers a new perspective on the rare finds of textile remains.

When we started preparing this catalogue, little work has been done in Bolivia on the museological aspects of textiles from the Andean and Amazonian regions of the country, and still less in a contextualised sense, taking into account the social life of its regions. Neither was there an adequate link, within Bolivian archaeology, between museum collections and national research into textiles, and this discipline is only recently showing an interest in this theme. And although there had been certain advances over the past decades within anthropology and the history of art into the study of textiles, this had not produced a renovation of ideas in theory or in practice, applicable to the organisation of textile exhibitions. In the present volume, in coordination with the Museo Nacional de Etnografía y Folklore (Musef), in La Paz, we decided to remedy this situation by proposing a new focus towards the woven objects located in the museum deposits, centred on making these textiles within the productive chain of weaving, taking into account the social life of the weaving communities of practice in the region, and also the social life of textiles as both objects and subjects.

Zu den Textiltechniken gehören nicht nur Spinnen und Weben, es zählen alle Arbeitsschritte dazu, von der Aufbereitung des Rohmateriales, der Fadenherstellung, über verschiedene flächenbildende Techniken wie Weben, Flechten, Zwirnbindung, bis hin zum Nähen und Verzieren fertiger Stoffe1. Zu den Endprodukten textilen Handwerks sind neben Kleiderstoffen, Gürteln und Mützen auch Matten, Körbe, Siebe und Taschen etc. zu zählen. Im Artikel werden die einzelnen Textiltechniken nacheinander auf ihre archäologischen Hinterlassenschaften hin untersucht, um eine überblicksmäßige Zusammenschau der neolithischen Textiltechnologie anhand ihres Niederschlages an österreichischen Fundplätzen geben zu können.

In January 2015 a famous Oaxacan singer tweeted that French label Isabel Marant had plagiarized a traditional blouse from Tlahuitoltepec.  e message circulated social networks generating an avalanche of crit- icism and comment.  e news quickly reached the Ayuujk or Mixes in Tlahuitoltepec, where their authorities started to work on a response and to reach a consensus. Discussions were provoked both inside and outside the community, while the case was covered in the local, national and international press.  e municipal authorities publicly condemned the plagiarism in the Oaxacan Textile Museum and later they requested an anthropological opinion. In this article I explore what happened and other similar cases. I make reference to my ethnographic work spanning ten years in the region and open the discussion about the expected role of anthropologists both institutionally and personally in communities with cases that are increasingly common.

En los últimos años ha ido creciendo un discurso bastante problemático en torno a la comercialización y el uso de textiles pertenecientes a comunidades indígenas en México. Mucha gente que se dedica a los textiles de manera comercial suele ir con la bandera de estar “visibilizando” las tradiciones “originarias” en México. Sin embargo, este fenómeno presenta varias contradicciones que, a mi parecer, lejos de condenar o celebrar sistemáticamente, debemos problematizar puesto que están sumamente relacionadas con el racismo y la experiencia de mujeres indígenas en países como México.

Las estructuras y técnicas de los textiles andinos, en las piezas arqueológicas y en las piezas históricas como contemporáneas, se cuentan entre las más complejas del mundo. Si bien el tapiz o faz de trama quizá sea el más conocido de todos los tipos de tela de la región, es sin duda en las telas de faz de urdimbre donde estas estructuras y técnicas han alcanzado su máximo desarrollo, sobre todo en nuestros tiempos. Varios estudiosos anteriores (d’Harcourt, Cahlander, Emery, Rowe, Seiler-Baldinger) han intentado describir las estructuras y técnicas de faz de urdimbre. Pero la mayor parte de estos autores han clasificado los textiles andinos siguiendo una terminología clasificatoria universal que se ha desarrollado a partir del análisis de textiles de otras partes del mundo. Ante esta situación, en el presente trabajo rescatamos la terminología y los sistemas clasificatorios de faz de urdimbre desde el punto de vista de las propias tejedoras de la región andina. Presentamos esta terminología —y el sistema de clasificación en que se basa— juntamente con las definiciones básicas de cada estructura y técnica, para un público más amplio interesado en los textiles en general, y en los textiles andinos en particular. Esta edición digital del libro original de 2012 corrige el texto.

Despite almost universal participation in textile use, an understanding of the fundamentals of textile construction within the global north appears to be increasingly superficial. The typical person is largely unexposed to the making process of textiles and textile products, as production is outsourced to locations distant from the final user. In recent years, fashion and textile designers have attempted to engage users in their making processes through the use of various supporting media. My intention is not to disregard the production of additional media, but to propose a turn to utilising the textile itself as the site for further user engagement. In this article I reflect on my experiences working with weavers in rural Bangladesh as part of my creative practice and postgraduate research. There, through multisensorial observation, I began to see each 'weaving' (noun/verb) not as a flat thing but as a multidimensional changescape (Gibson vii). Ephemeral moments occurring during the making process were found to materialise within each weaving, acting as a physical record of the spatial, temporal and personal traces of making. Using photography, these traces have been visually amplified in order to involve each weaving in the narration of its own creation.

This research paper examines traditional chok weaving in Northern Thailand to determine if and how design can contribute to its future viability. Research was conducted through extensive fieldwork. First, we describe traditional chok weaving and new developments in maintaining cultural significance. In addition, two distinct approaches to sustainability are identified: sustaining traditional practices of making textile products, and sustaining the social-cultural practices of product use. This paper also lays out potential areas for design contributions, and the framework of the four recommended design contributions is generated. These include design and production development, product design and development, design in relation to marketing and sales, and design to support the transfer of weaving expertise between generations. Project implementation with the weaving communities of the Long district is presented, producing tangible results, including a booklet and a card game of the traditional textile patterns for the weaving communities and interested people, and a repository of information, which the research group created for sharing information within the group.

Available online
PDF: http://www.ijdesign.org/index.php/IJDesign/article/viewFile/3128/883
HTML: http://www.ijdesign.org/index.php/IJDesign/article/view/3128/895

In the world of Oriental Rugs, Karapinar is a word that never fails to raise eyebrows and make hands sweat when one is offered for sale. Such was the case at Brunk’s Auction Gallery in July 2003 when a  so-called Karapinar rug was offered for sale.  But this one was different for all others and those differences, though they were quite easily discerned, seem to have been ignored by everyone.

But before enumerating some of them let us examine just what exactly a “Karapinar” rug is.

The town Karapinar is located in central Turkey in the eastern part of the great Konya plain and the name Karapinar means "the black spring". It was named after a spring that still exists today and can be visited at the top of the hill in the center of the old part of the city. In the museum of archaeology in Konya there are a number of Neolithic period objects found in and around that hill.

There are female statuettes, painted ceramics and spindle-wheels, which substantiate this area was a weaving center thousands of years before Christ. However, it seems no rugs with the Karapinar-design were woven in the town itself prior to the 19th century and rumor has it the area from Karaman in the west to the Karacadag mountains in the east was more probably the production location for them beginning the period when the Turkish Karamanoglari group had control over this region (13-15th century).

The word Karapinar was virtually unknown in the vocabulary of rug collectors before the early 1980’s but today it rings all the bells and whistles, just like another infamous moniker - Salor. Interestingly enough a small village located in this area called Yesilyurt has a mosque where a number of rugs with the Karapinar-design (more about this soon) can be found.

This is not remarkable nor is the fact the villagers trace their lineage to Central Asia and say they are Turkmen. But what is quite astounding is their claim to be direct descendants of the Salor who they say built this village before the Ottomans arrived in the 14th century. The villagers also maintain the Karapinar-design has nothing to do with Karapinar and it is, in reality, a Salor design having been woven by them for generations.

It is within this framework the author of this paper. Jack Cassin, provides documentary and art historical evidence to debunk the Karapinar myth.