Sleeping beauty

Once upon a time there was a Queen who had a beautiful baby daughter. She asked all the fairies in the kingdom to the christening, but unfortunately forgot to invite one of them, who was a bit of a witch as well. She came anyway, but as she passed the baby's cradle, she said:

"When you are sixteen, you will injure yourself with a spindle and die!"

"Oh, no!" screamed the Queen in horror. A good fairy quickly chanted a magic spell to change the curse. When she hurt herself, the girl would fall into a very deep sleep instead of dying.

The years went by, the little Princess grew and became the most beautiful girl in the whole kingdom. Her mother was always very careful to keep her away from spindles, but the Princess, on her sixteenth birthday, as she wandered through the castle, came into a room where an old servant was spinning.

"What are you doing?" she asked the servant.

"I'm spinning. Haven't you seen a spindle before?"

"No. Let me see it!" The servant handed the girl the spindle ... and she pricked herself with it and. with a sigh, dropped to the floor.

The terrified old woman hurried to tell the Queen. Beside herself with anguish, the Queen did her best to awaken her daughter but in vain. The court doctors and wizards were called, but there was nothing they could do. The girl could not be wakened from her deep sleep. The good fairy who managed to avoid the worst of the curse came too, and the Queen said to her,

"When will my daughter waken?"

"I don't know," the fairy admitted sadly.

"In a year's time, ten years or twenty?" the Queen went on.

"Maybe in a hundred years' time. Who knows?" said the fairy.

"Oh! What would make her waken?" asked the Queen weeplng.

"Love," replied the fairy. "If a man of pure heart were to fall in love with her, that would bring her back to life!"

"How can a man fall in love with a sleeping girl?" sobbed the Queen, and so heart-broken was she that, a few days later, she died. The sleeping Princess was taken to her room and laid on the bed surrounded by garlands of flowers. She was so beautiful, with a sweet face, not like those of the dead, but pink like those who are sleeping peacefully. The good fairy said to herself,

"When she wakens, who is she going to see around her? Strange faces and people she doesn't know? I can never let that happen. It would be too painful for this unfortunate girl."

So the fairy cast a spell; and everyone that lived in the castle - soldiers, ministers, guards, servants, ladies, pages, cooks, maids and knights - all fell into a deep sleep, wherever they were at that very moment.

"Now," thought the fairy, "when the Princess wakes up, they too will awaken, and life will go on from there." And she left the castle, now wrapped in silence. Not a sound was to be heard, nothing moved except for the clocks, but when they too ran down, they stopped, and time stopped with them. Not even the faintest rustle was to be heard, only the wind whistling round the turrets, not a single voice, only the cry of birds.

The years sped past. In the castle grounds, the trees grew tall. The bushes became thick and straggling, the grass invaded the courtyards and the creepers spread up the walls. In a hundred years, a dense forest grew up.

Now, it so happened that a Prince arrived in these parts. He was the son of a king in a country close by. Young, handsome and melancholy, he sought in solitude everything he could not find in the company of other men: serenity, sincerity and purity. Wandering on his trusty steed he arrived, one day, at the dark forest. Being adventurous, he decided to explore it. He made his way through slowly and with a struggle, for the trees and bushes grew in a thick tangle. A few hours later, now losing heart, he was about to turn his horse and go back when he thought he could see something through the trees . . . He pushed back the branches . . . Wonder of wonders! There in front of him stood a castle with high towers. The young man stood stock still in amazement,

"I wonder who this castle belongs to?" he thought.

The young Prince rode on towards the castle. The drawbridge was down and, holding his horse by the reins, he crossed over it. Immediately he saw the inhabitants draped all over the steps, the halls and courtyards, and said to himself,

"Good heavens! They're dead!" But in a moment, he realised that they were sound asleep. "Wake up! Wake up!" he shouted, but nobody moved. Still thoroughly astonished, he went into the castle and again discovered more people, lying fast asleep on the floor. As though led by a hand in the complete silence, the Prince finally reached the room where the beautiful Princess lay fast asleep. For a long time he stood gazing at her face, so full of serenity, so peaceful, lovely and pure, and he felt spring to his heart that love he had always been searching for and never found. Overcome by emotion, he went close, lifted the girl's little white hand and gently kissed it . . .

At that kiss, the prlncess qulckly opened her eyes, and wakening from her long long sleep, seeing the Prince beside her, murmured:

"Oh, you have come at last! I was waiting for you in my dream. I've waited so long!"

Just then, the spell was broken. The Princess rose to her feet, holding out her hand to the Prince. And the whole castle woke up too. Everybody rose to their feet and they all stared round in amazement, wondering what had happened. When they finally realised, they rushed to the Princess, more beautiful and happier then ever.

A few days later, the castle that only a short time before had lain in silence, now rang with the sound of singing, music and happy laughter at the great party given in honour of the Prince and Princess, who were getting married. They lived happily ever after, as they always do in fairy tales, not quite so often, however, in real life.

Note

This text was taken from the funet archive and converted to HTML by myself.

John Keats

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Brechó La Vaquitta

Camper: Tu imaginación que vuela

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Ode to Salvador Dalí, Federico García Lorca

A rose in the high garden you desire.
A wheel in the pure syntax of steel.
The mountain stripped bare of Impressionist fog,
The grays watching over the last balustrades.

The modern painters in their white ateliers
clip the square root's sterilized flower.
In the waters of the Seine a marble iceberg
chills the windows and scatters the ivy.

Man treads firmly on the cobbled streets.
Crystals hide from the magic of reflections.
The Government has closed the perfume stores.
The machine perpetuates its binary beat.

An absence of forests and screens and brows
roams across the roofs of the old houses.
The air polishes its prism on the sea
and the horizon rises like a great aqueduct.

Soldiers who know no wine and no penumbra
behead the sirens on the seas of lead.
Night, black statue of prudence, holds
the moon's round mirror in her hand.

A desire for forms and limits overwhelms us.
Here comes the man who sees with a yellow ruler.
Venus is a white still life
and the butterfly collectors run away.


*

Cadaqués, at the fulcrum of water and hill,
lifts flights of stairs and hides seashells.
Wooden flutes pacify the air.
An ancient woodland god gives the children fruit.

Her fishermen sleep dreamless on the sand.
On the high sea a rose is their compass.
The horizon, virgin of wounded handkerchiefs,
links the great crystals of fish and moon.

A hard diadem of white brigantines
encircles bitter foreheads and hair of sand.
The sirens convince, but they don't beguile,
and they come if we show a glass of fresh water.


*

Oh Salvador Dali, of the olive-colored voice!
I do not praise your halting adolescent brush
or your pigments that flirt with the pigment of your times,
but I laud your longing for eternity with limits.

Sanitary soul, you live upon new marble.
You run from the dark jungle of improbable forms.
Your fancy reaches only as far as your hands,
and you enjoy the sonnet of the sea in your window.

The world is dull penumbra and disorder
in the foreground where man is found.
But now the stars, concealing landscapes,
reveal the perfect schema of their courses.

The current of time pools and gains order
in the numbered forms of century after century.
And conquered Death takes refuge trembling
in the tight circle of the present instant.

When you take up your palette, a bullet hole in its wing,
you call on the light that brings the olive tree to life.
The broad light of Minerva, builder of scaffolds,
where there is no room for dream or its hazy flower.

You call on the old light that stays on the brow,
not descending to the mouth or the heart of man.
A light feared by the loving vines of Bacchus
and the chaotic force of curving water.

You do well when you post warning flags
along the dark limit that shines in the night.
As a painter, you refuse to have your forms softened
by the shifting cotton of an unexpected cloud.

The fish in the fishbowl and the bird in the cage.
You refuse to invent them in the sea or the air.
You stylize or copy once you have seen
their small, agile bodies with your honest eyes.

You love a matter definite and exact,
where the toadstool cannot pitch its camp.
You love the architecture that builds on the absent
and admit the flag simply as a joke.

The steel compass tells its short, elastic verse.
Unknown clouds rise to deny the sphere exists.
The straight line tells of its upward struggle
and the learned crystals sing their geometries.


*

But also the rose of the garden where you live.
Always the rose, always, our north and south!
Calm and ingathered like an eyeless statue,
not knowing the buried struggle it provokes.

Pure rose, clean of artifice and rough sketches,
opening for us the slender wings of the smile.
(Pinned butterfly that ponders its flight.)
Rose of balance, with no self-inflicted pains.
Always the rose!


*

Oh Salvador Dali, of the olive-colored voice!
I speak of what your person and your paintings tell me.
I do not praise your halting adolescent brush,
but I sing the steady aim of your arrows.

I sing your fair struggle of Catalan lights,
your love of what might be made clear.
I sing your astronomical and tender heart,
a never-wounded deck of French cards.

I sing your restless longing for the statue,
your fear of the feelings that await you in the street.
I sing the small sea siren who sings to you,
riding her bicycle of corals and conches.

But above all I sing a common thought
that joins us in the dark and golden hours.
The light that blinds our eyes is not art.
Rather it is love, friendship, crossed swords.

Not the picture you patiently trace,
but the breast of Theresa, she of sleepless skin,
the tight-wound curls of Mathilde the ungrateful,
our friendship, painted bright as a game board.

May fingerprints of blood on gold
streak the heart of eternal Catalunya.
May stars like falconless fists shine on you,
while your painting and your life break into flower.

Don't watch the water clock with its membraned wings
or the hard scythe of the allegory.
Always in the air, dress and undress your brush
before the sea peopled with sailors and ships.

More vespas


By Huro Kitty

Vespas


By Huro Kitty

Milton Glaser

www.miltonglaser.com

21 X TAK

www.solidarnosc.gov.pl

The fashion system, Roland Barthes

In his consideration of the language of the fashion magazine--the structural analysis of descriptions of women's clothing by writers about fashion--Barthes gives us a brief history of semiology. At the same time, he identifies economics as the underlying reason for the luxuriant prose of the fashion magazine: "Calculating, industrial society is obliged to form consumers who don't calculate; if clothing's producers and consumers had the same consciousness, clothing would be bought (and produced) only at the very slow rate of its dilapidation."

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Eric Satie

Coco Chanel parle de la mode

Sterling crescent tops

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Towheed: New Readings in the literature of British India

Towheed: New Readings in the Literature of British India
Towheed, Shafquat (Hrsg.):
New Readings in the Literature of British India, c.1780-1947 / Shafquat Towheed (ed.). - Stuttgart : Ibidem Verlag, 2007. - 334 S. - (Studies in English Literatures ; 9)
ISBN 978-3-89821-673-9
EUR 39,90

The twelve contributions to this book amply demonstrate the richness, vitality and complexity of the colonial transactions between Britain and India over the last two centuries, and they do so by approaching the topic from a specific perspective: by interpreting the rubric ‘new readings’ as broadly, creatively and productively as possible. They cover a wide range of literary responses and genres: eighteenth-century drama, the gothic novel, verse, autobiography, history, religious writing, journalism, women’s memoirs, travel writing, popular fiction, and the modernist novel. Brought together in one volume, these essays offer a small, but representative sample of the multifaceted literary and cultural traffic between Britain and India in the colonial period. In the richness and diversity of the various contributors’ strategies and interpretations, these new readings urge us to return once again to texts that we think we know, as well as to explore those that we do not, with a freshly renewed sense of their complexity, immediacy, and relevance.

indologica

I ask myself

I ask myself, how many times should we destroy ourselves to go ahead.

To confess

Nothing to confess, nothing to say.
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Camille Claudel

Camille Claudel was born in Fère-en-Tardenois, Aisne, in northern France, the second child of a family of farmers and gentry. Her father, Louis Prosper, dealt in mortgages and bank transactions. Her mother, the former Louise Athanaïse Cécile Cerveaux, came from a Champagne family of Catholic farmers and priests. The family moved to Villeneuve-sur-Fère while Camille was still a baby. Her younger brother Paul Claudel was born there in 1868. Subsequently they moved to Bar-le-Duc (1870), Nogent-sur-Seine (1876), and Wassy-sur-Blaise (1879), although they continued to spend summers in Villeneuve-sur-Fère, and the stark landscape of that region made a deep impression on the children. Camille moved with her mother, brother and younger sister to the Montparnasse area of Paris in 1881, her father having to remain behind, working to support them.

Fascinated with stone and soil as a child, as a young woman she studied at the Académie Colarossi with sculptor Alfred Boucher. (At the time, the École des Beaux-Arts barred women from enrolling to study.) In 1882, Claudel rented a workshop with other young women, mostly English, including Jessie Lipscomb. In 1883, she met Auguste Rodin, who taught sculpture to Claudel and her friends.

Around 1884, she started working in Rodin's workshop. Claudel became his source of inspiration, his model, his confidante and lover. She never lived with Rodin, who was reluctant to end his 20-year relationship with Rose Beuret. Although pregnant, Claudel never had children with Rodin; she lost the child in an accident[1], which sent her into a deep depression. Knowledge of the affair agitated her family, especially her mother, who never completely agreed with Claudel's involvement in the arts. As a consequence, she left the family house. In 1892, perhaps after an unwanted abortion, Claudel ended the intimate aspect of her relationship with Rodin, although they saw one another regularly until 1898.

Beginning in 1903, she exhibited her works at the Salon des Artistes français or at the Salon d'Automne. It would be a mistake to assume that Claudel's reputation has survived simply because of her notorious association with Rodin. She was in fact a brilliant sculptor in her own right, and the famous art critic Octave Mirbeau wrote she was "A revolt against nature: a woman genius". Her early work is similar to Rodin's in spirit, but shows an imagination and lyricism quite her own, particularly in the famous Bronze Waltz (1893). The Age of Maturity (1900) whilst interpreted by her brother as a powerful allegory of her break with Rodin, with one figure The Implorer that was produced as an edition of its own, has also been interpreted in a less purely autobiographical mode as an even more powerful representation of change and purpose in the human condition. The different scales, the different modes of plasticity, and gender-representation, of the three figures which make up this important group, enable a more universal thematic and metaphoric stylistics related to the ages of existence, childhood, maturity, and the perspective of the transcendent (v. Angela Ryan, "Camille Claudel: the Artist as Heroinic Rhetorician." Irish Women's Studies Review vol 8: Making a Difference: Women and the Creative Arts. (December 2002): 13-28). Her onyx and bronze small-scale Wave (1897) was a conscious break in style with her Rodin period, with a decorative quality quite different from the "heroic" feeling of her earlier work. In the early years of the 20th Century, Claudel had patrons, dealers, and commercial success - she had no need to bask in the reflected light of another.

From 1905 on, Claudel acted mentally deranged. She destroyed many of her statues, disappeared for long periods of time and acted paranoid. She accused Rodin of stealing her ideas and of leading a conspiracy to kill her. After the wedding of her brother (who supported her until then) in 1906 and his return to China after a stay in France, she lived secluded in her workshop.

Her father, who approved of her career choice, tried to help her and supported her financially. When he died on March 2, 1913, Claudel was not informed of his death. On March 10, 1913 at the initiative of her brother, she was admitted to the psychiatric hospital of Ville-Évrard in Neuilly-sur-Marne. The form read that she had been "voluntarily" committed, although her admission was signed by a doctor and her brother. Some historians speculate that her brother, also an artist, felt overshadowed by her strength in art and wanted her out of the way. There are records to show that while she did have mental outbursts, she was clear-headed while working on her art. Doctors tried to convince the family that she need not be in the institution, but still they kept her there.

In 1914, to be safe from advancing German troops, the patients at Ville-Évrard were at first relocated to Enghien. On 7 September 1914 Camille was transferred with a number of other women, to the Montdevergues Asylum, at Montfavet, six kilometres from Avignon. Her certificate of admittance to Montdevergues was signed on 22 September 1914; it reported that she suffered "from a systematic persecution delirium mostly based upon false interpretations and imagination".

For a while, the press accused her family of committing a sculptor of genius. Her mother forbade her to receive mail from anyone other than her brother. The hospital staff regularly proposed to her family that Claudel be released, but her mother adamantly refused each time. On June 1, 1920, physician Dr. Brunet sent a letter advising her mother to try to reintegrate her daughter into the family environment. Nothing came of this.

Paul Claudel visited her every few years, though he referred to her in the past tense. In 1929 Jessie Lipscomb visited her.

Camille Claudel died on October 19, 1943, after having lived 30 years in the asylum at Montfavet (known then as the Asile de Montdevergues, now the modern psychiatric hospital Centre Hospitalier de Montfavet), and without a visit from her mother or sister. (Her mother died on June 20, 1929.) Some biographies list her death as 1920. Her body was interred in the cemetery of Monfavet.

http://en.wikipedia.org/wiki/Camille_Claudel

My secret garden

jomeesters

Kim Levin

Kiasma

Ouka Lele

The Shirelles

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Vintage shoes

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Frances Benjamin Johnston

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Vintage suit

Vintage suit with a great vintage look, check this one out! The jacket is unstructured with a slightly raised collar. The center front opening has only a hook/eye closure at the neckline, with the rest of the jacket open. The shoulders are padded and the sleeves are three-quarter length. The sleeves do have a decorative banding at the lower edge. This banding is also incorporated into the jacket. The left side of the jacket front has a horizontal band beginning at the opening and crossing just above the bustline. A vertical band joins the horizontal band and continues to the hemline of the jacket. The veritical banding is accented with seven (7) large black buttons (see Jacket Detail). The jacket has small vertical openings for a belt to thread through; however there is no belt with the jacket. A thin, black belt would be easy to find and add to complete the look. The jacket falls to approximately mid-hip length and is not lined. The matching skirt is slightly a-lined with a side metal zipper closure. There is also a hook/eye at the waistline which needs a bit of reinforcement. The skirt also has matching decorative horizontal and vertical banding and buttons (see Skirt Details). The suit is in very good condition; however it is missing the belt and needs a bit of work at the side opening (hook/eye). The jacket measures approximately: bustline=36", shoulder to shoulder width=15" and length=24 1/2". The skirt measures approximately: waistline=26" and length=33".
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Beret style hat

Lovely beret style hat is made by "Betmar" and is created in a magenta colored velvet. The hat is soft and pliable. It has a soft band which is accented with a material covered button on the side. The hat is in very good condition and very wearable. The inside features a wide grosgrain banding and the "Betmar" label (see Detail Views).
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The garden of the woman learned in magic, Hans Christian Andersen





Then an old, old woman came out of the house; she was leaning upon a big, hooked stick, and she wore a big sun hat, which was covered with beautiful painted flowers.












But how was little Gerda getting on all this long time since Kay left her? Where could he be? Nobody knew, nobody could say anything about him. All that the other boys knew was, that they had seen him tie his little sledge to a splendid big one which drove away down the street and out of the town gates. Nobody knew where he was, and many tears were shed; little Gerda cried long and bitterly. At last, people said he was dead; he must have fallen into the river which ran close by the town. Oh, what long, dark, winter days those were!

At last the spring came and the sunshine.

'Kay is dead and gone,' said little Gerda.

'I don't believe it,' said the sunshine.

'He is dead and gone,' she said to the swallows.

'We don't believe it,' said the swallows; and at last little Gerda did not believe it either.

'I will put on my new red shoes,' she said one morning; 'those Kay never saw; and then I will go down to the river and ask it about him!'

It was very early in the morning; she kissed the old grandmother, who was still asleep, put on the red shoes, and went quite alone, out by the gate to the river.

'Is it true that you have taken my little playfellow? I will give you my red shoes if you will bring him back to me again.'

She thought the little ripples nodded in such a curious way, so she took off her red shoes, her most cherished possessions, and threw them both into the river. They fell close by the shore, and were carried straight back to her by the little wavelets; it seemed as if the river would not accept her offering, as it had not taken little Kay.

She only thought she had not thrown them far enough; so she climbed into a boat which lay among the rushes, then she went right out to the further end of it, and threw the shoes into the water again. But the boat was loose, and her movements started it off, and it floated away from the shore: she felt it moving and tried to get out, but before she reached the other end the boat was more than a yard from the shore, and was floating away quite quickly.

Little Gerda was terribly frightened, and began to cry, but nobody heard her except the sparrows, and they could not carry her ashore, but they flew alongside twittering, as if to cheer her, 'We are here, we are here.' The boat floated rapidly away with the current; little Gerda sat quite still with only her stockings on; her little red shoes floated behind, but they could not catch up the boat, which drifted away faster and faster.

The banks on both sides were very pretty with beautiful flowers, fine old trees, and slopes dotted with sheep and cattle, but not a single person.

'Perhaps the river is taking me to little Kay,' thought Gerda, and that cheered her; she sat up and looked at the beautiful green banks for hours.

Then they came to a big cherry garden; there was a little house in it, with curious blue and red windows, it had a thatched roof, and two wooden soldiers stood outside, who presented arms as she sailed past. Gerda called out to them; she thought they were alive, but of course they did not answer; she was quite close to them, for the current drove the boat close to the bank. Gerda called out again, louder than before, and then an old, old woman came out of the house; she was leaning upon a big, hooked stick, and she wore a big sun hat, which was covered with beautiful painted flowers.

'You poor little child,' said the old woman, 'how ever were you driven out on this big, strong river into the wide, wide world alone?' Then she walked right into the water, and caught hold of the boat with her hooked stick; she drew it ashore, and lifted little Gerda out.

Gerda was delighted to be on dry land again, but she was a little bit frightened of the strange old woman.

'Come, tell me who you are, and how you got here,' said she.

When Gerda had told her the whole story and asked her if she had seen Kay, the woman said she had not seen him, but that she expected him. Gerda must not be sad, she was to come and taste her cherries and see her flowers, which were more beautiful than any picture-book; each one had a story to tell. Then she took Gerda by the hand, they went into the little house, and the old woman locked the door.

The windows were very high up, and they were red, blue, and yellow; they threw a very curious light into the room. On the table were quantities of the most delicious cherries, of which Gerda had leave to eat as many as ever she liked. While she was eating, the old woman combed her hair with a golden comb, so that the hair curled, and shone like gold round the pretty little face, which was as sweet as a rose.

'I have long wanted a little girl like you!' said the old woman. 'You will see how well we shall get on together.' While she combed her hair Gerda had forgotten all about Kay, for the old woman was learned in the magic art; but she was not a bad witch, she only cast spells over people for a little amusement, and she wanted to keep Gerda. She therefore went into the garden and waved her hooked stick over all the rose-bushes, and however beautifully they were flowering, all sank down into the rich black earth without leaving a trace behind them. The old woman was afraid that if Gerda saw the roses she would be reminded of Kay, and would want to run away. Then she took Gerda into the flower garden. What a delicious scent there was! and every imaginable flower for every season was in that lovely garden; no picture-book could be brighter or more beautiful. Gerda jumped for joy and played till the sun went down behind the tall cherry trees. Then she was put into a lovely bed with rose-coloured silken coverings stuffed with violets; she slept and dreamt as lovely dreams as any queen on her wedding day.

The next day she played with the flowers in the garden again—and many days passed in the same way. Gerda knew every flower, but however many there were, she always thought there was one missing, but which it was she did not know.

One day she was sitting looking at the old woman's sun hat with its painted flowers, and the very prettiest one of them all was a rose. The old woman had forgotten her hat when she charmed the others away. This is the consequence of being absent-minded.

'What!' said Gerda, 'are there no roses here?' and she sprang in among the flower-beds and sought, but in vain! Her hot tears fell on the very places where the roses used to be; when the warm drops moistened the earth the rose-trees shot up again, just as full of bloom as when they sank. Gerda embraced the roses and kissed them, and then she thought of the lovely roses at home, and this brought the thought of little Kay.

'Oh, how I have been delayed,' said the little girl, 'I ought to have been looking for Kay! Don't you know where he is?' she asked the roses. 'Do you think he is dead and gone?'

'He is not dead,' said the roses. 'For we have been down underground, you know, and all the dead people are there, but Kay is not among them.'

'Oh, thank you!' said little Gerda, and then she went to the other flowers and looked into their cups and said, 'Do you know where Kay is?'

But each flower stood in the sun and dreamt its own dreams. Little Gerda heard many of these, but never anything about Kay.

And what said the Tiger lilies?

'Do you hear the drum? rub-a-dub, it has only two notes, rub-a-dub, always the same. The wailing of women and the cry of the preacher. The Hindu woman in her long red garment stands on the pile, while the flames surround her and her dead husband. But the woman is only thinking of the living man in the circle round, whose eyes burn with a fiercer fire than that of the flames which consume the body. Do the flames of the heart die in the fire?'

'I understand nothing about that,' said little Gerda.

'That is my story,' said the Tiger lily.

'What does the convolvulus say?'

'An old castle is perched high over a narrow mountain path, it is closely covered with ivy, almost hiding the old red walls, and creeping up leaf upon leaf right round the balcony where stands a beautiful maiden. She bends over the balustrade and looks eagerly up the road. No rose on its stem is fresher than she; no apple blossom wafted by the wind moves more lightly. Her silken robes rustle softly as she bends over and says, 'Will he never come?''

'Is it Kay you mean?' asked Gerda.

'I am only talking about my own story, my dream,' answered the convolvulus.

What said the little snowdrop?

'Between two trees a rope with a board is hanging; it is a swing. Two pretty little girls in snowy frocks and green ribbons fluttering on their hats are seated on it. Their brother, who is bigger than they are, stands up behind them; he has his arms round the ropes for supports, and holds in one hand a little bowl and in the other a clay pipe. He is blowing soap-bubbles. As the swing moves the bubbles fly upwards in all their changing colours, the last one still hangs from the pipe swayed by the wind, and the swing goes on. A little black dog runs up, he is almost as light as the bubbles, he stands up on his hind legs and wants to be taken into the swing, but it does not stop. The little dog falls with an angry bark; they jeer at it; the bubble bursts. A swinging plank, a fluttering foam picture—that is my story!'

'I daresay what you tell me is very pretty, but you speak so sadly and you never mention little Kay.'

What says the hyacinth?

'They were three beautiful sisters, all most delicate, and quite transparent. One wore a crimson robe, the other a blue, and the third was pure white. These three danced hand-in-hand, by the edge of the lake in the moonlight. They were human beings, not fairies of the wood. The fragrant air attracted them, and they vanished into the wood; here the fragrance was stronger still. Three coffins glide out of the wood towards the lake, and in them lie the maidens. The fire-flies flutter lightly round them with their little flickering torches. Do these dancing maidens sleep, or are they dead? The scent of the flower says that they are corpses. The evening bell tolls their knell.'

'You make me quite sad,' said little Gerda; 'your perfume is so strong it makes me think of those dead maidens. Oh, is little Kay really dead? The roses have been down underground, and they say no.'

'Ding, dong,' tolled the hyacinth bells; 'we are not tolling for little Kay; we know nothing about him. We sing our song, the only one we know.'

And Gerda went on to the buttercups shining among their dark green leaves.

'You are a bright little sun,' said Gerda. 'Tell me if you know where I shall find my playfellow.'

The buttercup shone brightly and returned Gerda's glance. What song could the buttercup sing? It would not be about Kay.

'God's bright sun shone into a little court on the first day of spring. The sunbeams stole down the neighbouring white wall, close to which bloomed the first yellow flower of the season; it shone like burnished gold in the sun. An old woman had brought her arm-chair out into the sun; her granddaughter, a poor and pretty little maid-servant, had come to pay her a short visit, and she kissed her. There was gold, heart's gold, in the kiss. Gold on the lips, gold on the ground, and gold above, in the early morning beams! Now that is my little story,' said the buttercup.

'Oh, my poor old grandmother!' sighed Gerda. 'She will be longing to see me, and grieving about me, as she did about Kay. But I shall soon go home again and take Kay with me. It is useless for me to ask the flowers about him. They only know their own stories, and have no information to give me.'

Then she tucked up her little dress, so that she might run the faster; but the narcissus blossoms struck her on the legs as she jumped over them, so she stopped and said, 'Perhaps you can tell me something.'

She stooped down close to the flower and listened. What did it say?

'I can see myself, I can see myself,' said the narcissus. 'Oh, how sweet is my scent. Up there in an attic window stands a little dancing girl half dressed; first she stands on one leg, then on the other, and looks as if she would tread the whole world under her feet. She is only a delusion. She pours some water out of a teapot on to a bit of stuff that she is holding; it is her bodice. "Cleanliness is a good thing," she says. Her white dress hangs on a peg; it has been washed in the teapot, too, and dried on the roof. She puts it on, and wraps a saffron-coloured scarf round her neck, which makes the dress look whiter. See how high she carries her head, and all upon one stem. I see myself, I see myself!'

'I don't care a bit about all that,' said Gerda; 'it's no use telling me such stuff.'

And then she ran to the end of the garden. The door was fastened, but she pressed the rusty latch, and it gave way. The door sprang open, and little Gerda ran out with bare feet into the wide world. She looked back three times, but nobody came after her. At last she could run no further, and she sat down on a big stone. When she looked round she saw that the summer was over; it was quite late autumn. She would never have known it inside the beautiful garden, where the sun always shone, and the flowers of every season were always in bloom.

'Oh, how I have wasted my time,' said little Gerda. 'It is autumn. I must not rest any longer,' and she got up to go on.

Oh, how weary and sore were her little feet, and everything round looked so cold and dreary. The long willow leaves were quite yellow. The damp mist fell off the trees like rain, one leaf dropped after another from the trees, and only the sloe-thorn still bore its fruit; but the sloes were sour and set one's teeth on edge. Oh, how grey and sad it looked, out in the wide world.

Red shoes

Image

Blood

http://principiodeidentidad.blogspot.com/

Glossary online about sewing

Glossary online about sewing

Sewing

Wiskey lulaby, Brad Paisley

Textiles from SE Asia

Lakobou (Textile Atelier)
Producer Nakao Kenji
Yufuku

Juba (kimono) for sale

Juban. Crèpe de seda rosaleda – J0001 Se trata de un juban (kimono interior) confeccionado en crèpe de seda con un bonito y discreto diseño con multitud de rosas. Es una prenda hecha en los años 60. Juban confeccionado en auténtico crèpe de seda. Medidas: Largo total: 124 cm. Ancho de manga a manga: 123 cm. Ancho de espalda: 60 cm. NOTAS: Presenta una pequeña mancha (ver fotografía) que no afecta en absoluto el uso de la prenda.

For sale

Noisettes, The count of Monte Christo

Inserción desactivada. Listen

Geek T-shirt

Link

Das Park Hotel

Das Park Hotel see more

We the Free


Visit them

Food cupboard

Hoops

Restless sleepers, bed sheets

Robert Morris, Restless Sleepers/Atomic Shroud, 1991.
Silkscreen on linen, 114 x 90". Created in collaboration
with The Fabric Workshop and Museum.

These ghostly and ominous bed sheets were created at The Fabric Workshop and Museum (FWM) at the height of the Cold War, during the Reagan years, when apocalyptic themes were central to Morris' work. At this time, the work produced at the FWM tended to focus on fabric and printing, rather than the broad array of alternative materials used here today. As a result, Morris produced a work distinctive from his other pieces, which are mostly sculptural. To create Restless Sleepers/Atomic Shroud, Morris painted a human skeleton with ink and rolled it on white fabric. The resulting skeleton prints were then assembled into an image that was screen-printed onto a bed sheet. These sheets are one of the most literal of his pieces exploring the theme of nuclear threat.

Fashionable felt

Fashioning Felt

This exhibition will explore the varied new uses of felt—an ancient material, believed to be one of the earliest techniques for making textiles. Made by matting together wool fibers with humidity and friction, felting requires little technological expertise and is an extremely versatile material. The exhibition will begin with historic examples of felts, showcase innovations in handmade felts, and feature contemporary uses of industrial felt in a range of fields, including product design, fashion, architecture, and home furnishings. The exhibition is being organized by Susan Brown, assistant curator, Textiles.

Chinesse benches

Hernández Pijoan, from Barcelona

Soft stays

Sold out

Socks that fix

Stairs

(Leszek Zokowski / Stock Photo) :: Who would throw their good Italian shoes down the step on New Year's Eve? Ask an Italian.
http://www.happynews.com/news/12292005/throw-those-shoes-down-the-steps-on-.htm

Nuns

Sitar making in India

View SlideShare document or Upload your own. (tags: sitar fabricación)

Butterfly, Linda Broadfoot

Linda L. Broadfoot
Cithaerias pyropina, Pyropine Ghost Satyr, 2002

Photomacrograph; 20x24 Polaroid Camera; original photographic process used Polaroid image transfer onto Fabriano paper (receiver) and was produced at the Polaroid Studio, NYC January 24, 2002.
Atlantic Beach, Florida, United States

While investigating some of nature’s wonders as new subjects for my artwork, several butterfly specimens were borrowed from the Museum of Entomology, Florida State Collection of Arthropods, in Gainesville, Florida. These were photographed using the 20 × 24 Polaroid camera in New York, one of five such cameras in the world using simple flat lighting to reveal color and structure. To create this image an initial camera exposure was made using the 5-foot-tall, 235-pound view camera and then the dyes from the Polaroid film receptor sheet were pressed into a large dampened sheet of watercolor paper. Rubbing and pushing the transferred dyes by hand refined the final photograph’s appearance, which was desired to evoke the sense of a natural history document. This work is one of a series of over 60 images produced over the course of five years, culminating in an artists’ book, INSECTA.

To email this contributor, click on the following email address:
lindabroadfoot@bellsouth.net
To see additional work by this contributor go to:
http://www.westongallery.com/artists/l_broadfoot/linda_broadfoot.html

The Supremes at V&A Museum

The Story of The Supremes
from the Mary Wilson Collection
13 May – 19 October 2008
Supremes exhibition image

The performance costumes of The Supremes, one of the most successful groups of all time, are on display at the V&A this summer. On show are over fifty outfits that chart the changing image of the group, from their dresses in the early days as The Primettes, to the glamorous Hollywood designs worn at the height of their fame.

The display includes costumes worn by the original Supremes - Mary Wilson, Diana Ross and Florence Ballard, as well as the 70s Supremes. It examines how the group was carefully styled by Berry Gordy and his Motown associates to appeal to the widest possible audience.

The Supremes recorded 12 US No.1 hits between 1964 and 1969, including an unprecedented five consecutive chart toppers. Set against the backdrop of the meteoric rise of Motown Records and of the American civil rights movement, the exhibition explores the inspirational role The Supremes played in changing racial perceptions, and their influence on today’s performers.

Based on the collection of Mary Wilson, the display features the group’s music, album covers and archive performance footage as well as new video interviews with Wilson and Maxine Powell, Motown’s in-house Artist Development Director.

This is a V&A exhibition in collaboration with the Rock and Roll Hall of Fame and Museum . Click on the links below for information, resources, events and activities based around the exhibition.

Handbag for girls

Shopping bag

Colour
black / mauve
Details
100% coated nylon
Size
W37.5cm X H69cm X D34cm (W14.8'' X H27'' X D13.3'')

First presented at the new york mart in 2006, the 'new shopping bag''s success lies in its simplicity and its functionality. the bags are entirely made of coated nylon (the fabric used in shipping sails and kites) they are light, water repellent and super strong.

By susnabijl from the Netherlands

http://www.designboom.com/

Japanese traditional colours

Japanese Traditional and Ceremonial Colors
General Color Meanings

While one of the joys of Temari balls is their wonderful use of colors (indeed one of the symbolisms of giving Temaris as gifts is that they represent brilliance because of their colors, wishing the recipient a brilliant life), much interest has been expressed on the discussion group about use of the more traditional color combinations that one might see on authentic Japanese Temari and in Japanese culture. Indeed, to those of us in the west one might think that some Japanese Temaris do indeed have some "different" color combinations.Sue H. offers: Chrysanthemums are a favorite flower for the Japanese. In general, they prefer flowers that drop their petals one by one, rather than fall off in one clump. That is why the rose is not popular, and even considered bad luck. Sakura (cherry blossoms), daisies, plum blossoms are greatly admired. Something with many petals can also be related to many years of life (long life) which is another "good fortune" wish.

Red and White are auspicious colors (good luck). You will find the two colors used for many special occasions, such as weddings, and births. I do not know the origins, but surmise as you do, that being one of the easier natural dyes to create, that it would become the more widely used. Since tassels are used to decorate things of celebration, red and white are the colors you will find (unless it is black and white, or all black for a funeral). There is an observance in Japan that you may find amusing - you are in a train station and see a couple. The man is in an all black, double-breasted suit, the woman in an all black kimono. Both are carrying a shopping bag (yes, a shopping bag) containing gifts. Are they returning from a funeral or a wedding? The only way to tell is if the woman's obi is colorful, or solid black, and the man's tie is white or black. Colorful/white is for a wedding, black/black is for the funeral.

Blue and White are also prominent colors in Japanese fabrics and dishware. Yukata is a blue and white cotton fabric used to make summer kimonos called "yukata". It is also used for the "temari-like" patterns found throughout their dishware. So many times, I hear western women moan about how the dishes they bought just won't match their color scheme at home. "Doesn't it come in green?" Hard to change a thousands of years old "tradition". : )

One group member follows a Usenet group where the same topic for different reasons was being discussed and offers the following reference. The color list is referenced to Liza Dalby's book "Geisha", about her study of Japanese geisha life. The layering of colours for kimono and their surface decoration vary with the season and even the month. Apparently, as ceremonial kimono are very expensive, only geisha follow the tradition of changing colours for each month. This is one list of colours from a traditional school of Japanese etiquette. (Web master's note - Japanese culture is closely linked with the seasons, so each month is also represented by a nature reference.)


* January Pine: sprout green and deep purple
* February Redblossom plum: crimson and purple
* March Peach: peach and khaki
* April Cherry: white and burgundy
* May Orange Flower: deadleaf yellow and purple
* June Artemesia: sprout green and yellow
* July Lily: red and deadleaf yellow
* August Cicada wing: cedar bark and sky blue
* September Aster: lavender and burgundy
* October Bush Clover: rose and slate blue
* November Maple: vermilion and grey-green
* December Chrysanthemum: lavender and deep blue


Another group member went on to offer:
The piece about the Japanese colours originally written by Liza Dalby in her book *Geisha* has been further expanded in her book *Kimono: Fashioning Culture*. Ten colours appear the most frequently, along with black, (in Kimono)

Ao (blue-green) corresponds most closely to *turquoise-green*
Moegi (sprout-green)could also be called grass-green or apple-green
Kurenai (scarlet-pink) a bright, slightly yellow-toned pink produced from the benibana,*safflower*, an herbal dye source. The closest thing to red in the fashion palette, since truer red, *AKE* was primarily used to indicate rank.
Kobai (plum-pink) a light red with a purple cast.
Suo (maroon) another red, wandering in tone from purple to brown to orange. It is the name of the tree (sappanwood) from which the dye comes.
Ki (yellow) the purest yellow
Kuchiba (old-leaf tan) (also the one I believe is closest to what she described as *dead-leaf yellow* in the book *Geisha*.) The name means rotted leaves. If it were a bit brighter it would approach mustard.
Yamabuki (golden yellow) a tree-shrub, the *Kerria japonica* with a roseate yellow blossom. A golden yellow like that of the common freesia.
Murasaki (purple) from the root of the gromwell, difficult to work with and restricted for the use of those of high rank. A fragile colour, tended to fade. A range of purples included shades called *fuji* (wisteria),*keshi murasaki* (a greyed mauve), *ebi* (red-violet), *koki* (deep violet and *usuki* (pale violet).
Shiro (white)
Kon (black)

See more: Temarikai

Textiles collage

Kitsch earrings

You can buy them at Pumpkin Scone Store. They have also zulu bracelets and key rings. Everything cheap and kitsch.

Joseph Beuys, Felt suit

"Creativity isn't the monopoly of artists. This is the crucial fact I've come to realise, and this broader concept of creativity is my concept of art. When I say everybody is an artist, I mean everybody can determine the content of life in his particular sphere, whether in painting, music, engineering, caring for the sick, the economy or whatever. All around us the fundamentals of life are crying out to be shaped or created. But our idea of culture is severely restricted because we've always applied it to art. The dilemma of museums and other cultural institutions stems from the fact that culture is such an isolated field, and that art is even more isolated: an ivory tower in the field of culture surrounded first by the whole complex of culture and education, and then by the media which are also part of culture. We have a restricted idea of culture which debases everything; and it is the debased concept of art that has forced museums into their present weak and isolated position. Our concept of art must be universal and have the interdisciplinary nature of a university, and there must be a university department with a new concept of art and science".

1979, From an interview with Frans Hak
Art minimal and conceptual art only

Khadi

Traditional japanese footwear









Traditional Footwear Types
In most cultures around the world, traditional footwear develops and evolves because of the wearers' needs and resources but also because of the climate in which they are worn. Traditional Japanese footwear is made from straw, wood and natural fabrics like cotton and silk.

Waraji
: Archaeological evidence suggests that rice straw sandals, which were the earliest form of footwear in Japan, developed about two thousand years ago. Waraji have twisted straw cords that are led through loops around the feet and heels and are then fastened at the ankles. This secure binding makes them suitable for rough work and long distance journeys.

Zori: The zori developed after the waraji and can be made of a wider variety of materials depending on intended use. Simple rice straw zori are suitable for everyday wear, while brocaded silk zori are frequently worn for weddings and other special events.

Nikai Zori: These velvet-covered double rice straw-soled zori with velvet straps are betrothal sandals. These are a special gift a man gives to a woman at the time of their engagement. The two-layered sole is symbolic of their union.

Geta: Geta are wooden sandals which often have a woven tatami insole for extra comfort. More expensive versions of geta are cut from single pieces of wood, while less expensive ones have added teeth, which are fitted into grooves. Geta first became fashionable in the bustling urban centres of the Edo period (1603-1867). When geta production became industrialized in the Meiji period (1868-1912) they become more economically accessible to everyone.

Lacquered Geta: Lacquer is used on a variety of Japanese decorative objects, including geta. Made from the resin of a tree distantly related to poison ivy, Japanese lacquer is painted onto the geta surface in successive coats. The metal piece covering the knot of the strap underneath is called the mae-gane.

Tabi: Tabi are socks with a separation between the large toe and the rest of the toes, which allow the thong straps of traditional sandals to comfortably fit the foot. Tabi are the only foot coverings traditionally permitted on the tatami mat-covered floors inside Japanese houses. Although today most tabi are made of cotton, these are made of deerskin.

AllAboutShoes http://www.allaboutshoes.ca/en/

Yellow bowl

Liliana Kancepolski, mix media, 240x140

Plato azul

Liliana Kancepolski, técnica mixta sobre lienzo, 240x140

Japanesse footwear

You can find this beautiful silk footwear in Nunoya. Shop and studio sepcialized in japanesse fabric and kimono, dresses, skirts, scarves and soft furnishing that you can choose from over 300 japanesse prints. You can also find complements of any kind. Nunoya is at Barcelona.

Kenzo 2006

Koolkipah

A peculiar on-line store for jewish customers. Kipahs and talits also for women. See some of them:






1. Organza Floral Pattern Organza Floral Peach. Embroidered in Israel this delicate peach floral organza tallit is a delight. Comes with Bag and Kippah. Size 22" X 72". $225.00
2. Chiffon in Pink Tallit Set This Stunning Tallit Set is Hand-Embroidered by Akiva Lamy, one of our fine artists from Israel. This fabric tallit set is made of 100% chiffon in pink with black beaded flowers. Set includes matching tallit Bag and kippah. Size: 18"x72". $225.00

Interesting ¿ah?
From: koolkipah

Textiles As Art



Textiles As Arts The Antique textiles in this gallery include Chinese silks of the Tang to the Qing dynasties, Pre-Columbian South American textiles, Central Asian Ikat and Suzani, Renaissance and Medieval European objects, Coptic and Ancient textiles, Classical Islamic and Persian silks and velvets, as well as ethnographic Costumes and antique Kashmiry and Persian Shawls.
If you're visiting this site for: educational purposes, visit their Textiles history page; for information and references, buying or selling textiles through this site, or for free appraisals please visit our Services page!
During your stay at this website, visit their Links page for additional antique textile sites and their Bibliography page for antique textile book references.

Images:
Antique Indian Sari Design is drawn onto Silk in 4 colors Depicting a King riding an Elephant lead by Servants 1800 - 1900 A.D 224 x 39 in 570cm X 100cm



Image: Antique Persian Silk Embroidered Shoes Qajar Dynasty 1795 -1925 A.D Cf: A Survey of Persian Handicraft By jay & Sumi Gluck.



Image: Antique Zoroastrian Embroidered Wedding Shirt for a Woman Qajar Dynasty 1795 -1925 A.D

Duffy, Mercy

Remmants

As time goes by

The iron. The American Dream



Here's a fantastic site all about iron evolution in America as an important topic of the american dream, clearly shown in Life magazine pages. It's not only, they say that ironing is crutial for all of us (nobody goes out without a pressed shirt). It seems that in 1946 people was "a little bit antsy" because Industry was taking a bit too long in converting war production into consumer goods... Irons became part of female emancipation and contributed to the growth of consumers economy. It was not just a "tiresome household chore..."
To read the whole interesting story go to Jitter Buzz.

Vintage fashion auction

I found these beautiful dresses at RetroGo. They show lots of wonderful retro costumes and things (glasses, t-shirts, more dresses, bags). You can find these cocktail and dinner wear lot from the 1960s at Kerry Terry Auctions website. They hold live auction.

Femirama



My modest beginings. In the kitchen, sitting on the floor, painting my mother's precious magazines. My mother, cooking.
Twenty years later at the Academy of Fine Arts and Design, I "invented" the technique of painting on black and white photocopies. It was a great success then...

Technorati Profile

No more reflection of the moon in the water

The Chiyono nun studied during years but she was incapable to find the illumination. One night was transporting an old full water bucket. While she walked, she observed the moon reflected in the water of the bucket. Suddenly, the bamboo strips that held the pieces of the bucket broke and the bucket undid. The water was spilled and the reflection of the moon disappeared; and Chiyono was illuminated. The following verse wrote:

A way and another one I dealed with to maintain the bucket complete,
hoping that the weak bamboo never broke itself.
Suddenly, the bottom fell.
No more water; not more reflection of the moon in the water
emptyness in my hand.

The illumination is always like an accident because it is unforseeable, because you cannot manage it, you cannot cause that it happens. But you do not understand to me bad, because when I say that the illumination is like an accident, I am not saying that you do not make anything to obtain it. The accident only happens to which they do much so that it happens to them, although never it happens to them because of what they do. That to do is only the cause that creates the situation by which it tends to happen the accident, that is everything. This one is the meaning of that magnificent event.
I must say something of Chiyono. She was a very beautiful woman. When she was young, until the emperor and the princes they went after her. She refused because only she wanted to be loving of the divine thing. Shee went of monastery in monastery trying to become nun, but until the great teachers they refused -- they had to his position many monks and she was so beautiful that they would forget God and all the others. For that reason, there where she went, she found the doors closed.
What made Chiyono? She found an exit, the face was burned and filled it of scars. And later she went to a teacher who not even could recognize if she were man or woman. Then she was accepted like nun. She studied and meditated during thirty, forty years without stopping.
Then, suddenly, one night... was watching the moon reflected in the water bucket. The bucket fell suddenly, the water was spilled and the moon disappeared; that one was the detonating.
Always there is a crucial point in which the old thing disappears and the new thing begins, in that we appear again. That one was the crucial point. Suddenly, the water was spilled and no longer there was moon.
Then Chiyono must have watched upwards to see the true moon. She woke up suddenly to the fact that everything is a reflection, an illusion... When the bucket was broken, the mind also was broken. She was prepared. Everything what could be made already had been done.
The bottom fell suddenly... was an accident.
No more water, no more moon in the water; emptyness in my hand."

Small handbag, old linen



Liliana Kancepolski, old linen from Tía Rosa small bag, cloth, wool, buttons

Wabi-sabi. The beauty of the imperfect

Wabi-Sabi is a Japanese concept that makes reference to the beauty of the imperfect, the impermanente and the incomplete thing.
Nothing is perfect in the nature, at least in the geometric-euclidiano sense in that it conceives the West. Nothing is permanente because everything is in process, everything in life borns or dies. And nothing is complete because if outside, would be perfect and permanent, because the completitud does not exist in the nature; is only one abstraction devised by the man.
This aesthetic one, arisen around the old ceremony from the tea, has much of melancholic and autumnal. She is the aesthetic one of the objects that age with the use, which they are done of organic materials, that have own life.
Wabi-Sabi is the wood, the oxidized metal, the hemp, the crude fabric, the ceramics...
“Wabi-sabi is to beauty of things imperfect, impermanent, and incomplete. Humble It is to beauty of things modest and. It is to beauty of things unconventional.”
"The immediate catalyst for this book was to widely publicized tea event in Japan. The Japanese aesthetic of wabi-sabi there are long been associated with the tea ceremony, and this event promised to be to profound wabi-sabi experience. Hiroshi Teshigahara, the hereditary iemoto (grand masters) of the Sogetsu school of to flower arranging, had commissioned three of fashionable Japan’s most famous and architects to design and build to their conceptions of ceremonial tea-drinking environments. Teshigahara in addition would provide to fourth design. After to three-extra-hour train and bus ride from my office in Tokyo, I arrived AT the event site, the grounds of an old imperial summer residence. To my dismay I found to celebration of gorgeousness, grandeur, and elegant play, but hardly to draws up of wabi-sabi. Tea One slick hut, ostensibly made of to paper, looked and smelled like to big white plastic umbrella. Adjacent was to structure made of glass, steel, and wood that had all the intimacy of to highrise office building. Tea The one house that approached the wabi-sabi qualities I had anticipated, upon to closer inspection, was fussed up with gratuitous post-modern appendages. It suddenly dawned on me that wabi-sabi, eleven the preeminent high-culture tea Japanese aesthetic and the acknowledged centerpiece of, was becoming—had become?—an endangered species.
“Admittedly, the beauty of wabi-sabi is not to everyone’s liking. But I believe it is in everyone’s interest to prevent wabi-sabi from disappearing to altogether. Cultural Diversity of the ecology is to desirable state of affairs, especially in opposition to the accelerating trend toward the uniform digitalization of all sensory experience, wherein an electronic “reader” stands and between experience observation, and all manifestation is encoded identically..."

Cleaning the footpath of the garden

... Rikyu observed its Sho-an son while this one swept and watered the footpath of the garden. It is not enough it cleaned, said Rikyu when Sho-an finished his task, and ordered to him to continue cleaning. After one tedious hour, the son went to his father. ' Father, no longer can be done nothing else. I have washed to three times the steps, the stone lights and the trees are well dewy with water, moss and grass shines with a fresh verdor; I have left neither to a small branch nor a leaf on the floor. ' Young foolish, reprimanded to him the teacher of the tea, ' is not as well as it is necessary to sweep a footpath in the garden, shook a tree and it scattered gilded and carmesíes leaves throughout, fragments of the brocade of the autumn! ... Of the Book of the tea, Okakura Kakuzo

Anna Ticho


It's a long time since I was there, but I remember Anna Ticho's House or Museum as one of the most beatiful places in Jerusalem, the museum itself, her pictures, the furniture, the garden, and the cafeteria. As Anna was born in Moravia in 1984 and studied drawing in Vienna at the age of fifteen, her's is the style you will study in israeli art academies and the style you will identified as israeli drawing style.
She died in 1980.


Linen dress

Come as you are

Come as you are, you are not delayed more. If the braid is had to you exhausted, if the ray of your hair is not straight, if the tapes of your bodice are not tied, what matters? Come as you are, you are not delayed more. Come, come soon, by the grass. If the dew makes slip the strap of your footwear, if in your ankles the bracelets of bells are half-opened, if they lose per them of your necklace, what matters? Come, come soon, by the grass. You do not see how clouds cover the sky? Flocks of storks rise to the distant spot, from the border, and furious gusts of wind hurry on the desert. The cattle, anxious, takes refuge in the stables. You do not see how clouds cover the sky? He is useless that you ignite the lamp for mirarte: it vacillates and the wind extinguishes it. Who can discover that you have not painted your eyelids with soot? Your eyes are darker than clouds of rain. He is useless that you ignite the lamp, is extinguished. Come as you are, you are not delayed more. What matters that your garland is not braided? It leaves your bracelet already, although it is not closed. The clouds darken the sky, and is late. Come as you are, you are not delayed more. Rabindranath Tagore

Materials, catalogues, collections, samples...

I love materials, all kind, collectiones, catalogues, and samples. This linen samples are from just4funcrafts.

Care cleaning symbols


Click on the image to enlarge.

A (Textiles dictionary)

Abrasion Resistance The degree by which a fabric is able to withstand loss of appearance through surface wear, rubbing, chafing, and other frictional actions.
Absorbency The ability of a fabric to take in moisture. Absorbency is a very important property, which effects many other characteristics such as skin comfort, static build-up, shrinkage, stain removal, water repellency, and wrinkle recovery.
Acetate A manufactured fiber formed by a compound of cellulose, refined from cotton linters and/or wood pulp, and acedic acid that has been extruded through a spinneret and then hardened.
Acrylic A manufactured fiber derived from polyacrylonitrile. Its major properties include a soft, wool-like hand, machine washable and dryable, excellent color retention. Solution-dyed versions have excellent resistance to sunlight and chlorine degradation.
Air Permeability The porosity of a fabric as estimated by the ease with which air passes through it. Air permeability measures the warmth of blankets, the air resistance of parachute cloth, the wind resistance of sailcloth, etc. as measured on standard testing equipment.
Algaecide Kills algae.
Alpaca A natural hair fiber obtained from the Alpaca sheep, a domesticated member of the llama family. The fiber is most commonly used in fabrics for dresses, suits, coats, and sweaters.
Angora The hair of the Angora goat. Also known as Angora mohair. Angora may also apply to the fur of the Angora rabbit. However, according to the U.S. Federal Trade Commission, any apparel containing Angora rabbit hair must be labeled as "Angora rabbit hair" on the garment.
Anti-Bacterial (Anti-Microbial) A fabric that has been chemically treated or a fiber that is created by incorporating the anti-bacterial chemical agent into the fiber formula, making the finished fiber or fabric resistant to, or inhibiting the growth of micro-organisms.
Antifungal: Inhibits or kills fungi.
Anti-Static Can be either a fiber or fabric that does not allow the build-up of static electricity to occur when the fiber or fabric experiences friction or rubbing.
Aramid A manufactured fiber in which the fiber-forming substance is a long chain of synthetic polyamide in which at least 85% of the amide linkages are attached directly to two aromatic rings. Aramid fabrics are very strong and are resistant to high temperatures and extreme external forces. Aramid fabrics are used in thermally protective clothing; (i.e. coveralls, jackets, gloves, shirts, pants). U.S. FTC Definition: A manufactured fiber in which the fiber-forming substance is a long-chain synthetic polyamide in that is at least 85% of the amide linkages are attached directly to two aromatic rings.

B

Back Length The dimension on a garment taken from the center collar attaching seam to the bottom of the garment, or in the case of a coverall, to the top of the waistband.
Back Waist Length - The dimension on a body, taken from the top of the back bone at the base of the neck to the waistline.
Bactericide Kills bacteria.
Bacteriostat Doesn't necessarily mean that it kills bacteria. A stat means that it may simply be slowing growth or holding the death to growth rates of bacteria (same for fungal stats) more or less in equilibrium. Inhibits bacteria growth.
Ballistic A thick woven fabric that is extremely abrasion resistant and tough; has a denier of about 2000, and is used in apparel, packs and gear.
Band (Continuous/Grown-on) Pant panels that extend to the top of the pant and are folded over without an outside band. A separate inside band lining is sewn through the pant and has an interlining.
Band (Pasted-on/Folder-set) A separate band sewn on the pant with stitching that shows on the outside at the top and bottom.
Band (Rocap) A separate band of body fabric sewn on and turned down so the attaching seam is not visible. Inside the band is a separate lining---made from pcketing fabric---and interlining.
Barré An imperfection, characterized by a ridge or mark running in the crosswise or lengthwise directions of the fabric. Barrés can be caused by tension variations in the knitting process, poor quality yarns, problems during the finishing process.
Bartack To reinforce a seam with a bar of stitches that provides a more durable seam end. (Commonly used at points of strain.)
Base Layer The apparel in contact with your skin. The purpose of the base layer is to keep you warm/cool and dry.
Basket Weave A variation of the plain weave construction, formed by treating two or more warp yarns and/or two or more filling yarns as one unit in the weaving process. Yarns in a basket weave are laid into the woven construction flat, and maintain a parallel relationship. Both balanced and unbalanced basket weave fabrics can be produced. Examples of basket weave construction includes monk cloth and oxford cloth.
Bast Fiber Strong, soft, woody fibers, such as flax, jute, hemp, and ramie, which are obtained from the inner bark in the stems of certain plants.
Batiste A medium-weight, plain weave fabric, usually made of cotton or cotton blends. End-uses include blouses and dresses.
Bedford Cord A cord cotton-like fabric with raised ridges in the lengthwise direction. Since the fabric has a high strength and a high durability, it is often used for upholstery and work clothes.
Beeze Piping or cording formed at lower and inside pocket welts.
Besom An edging or reinforcement around a pocket opening.
Bicomponent Fiber Manufactured fiber made of continuous filaments, and made of two related components, each with different degrees of shrinkage. The result is a crimping of the filament, which makes the fiber stretchable.
Bleaching A process of whitening fibers, yarns, or fabrics by removing the natural and artificial impurities to obtain clear whites for finished fabric, or in preparation for dyeing and finishing. The materials may be treated with chemicals or exposed to sun, air, and moisture.
Blend A term applied to a yarn or a fabric that is made up of more than one fiber. In blended yarns, two or more different types of staple fibers are twisted or spun together to form the yarn. Examples of a typical blended yarn or fabric is polyester/cotton.
Bonding The technique of permanently joining together two fabrics or layers of fabrics together by a bonding agent.into one package. The bonding of fibers in a single layer of material is called a web. Special adhesives, binders, or thin slices of foam may be used as the marrying agent.
Bonding A process for adhesive laminating of two or more fabrics or fabric and a layer of plastic by means of a bonding agent (adhesives, plastics or cohesion).
Boucle A knit or woven fabric made from a rough, curly, knotted boucle yarn. The fabric has a looped, knotted surface and is often used in sportswear and coats
Break Point on the front edge of the garment at which the roll of the lapel begins. Usually at the same point as the lower end of the bridle.
Breathability The movement of water or water vapor from one side of the fabric to the other, caused by capillary action, wicking, chemical, or electrostatic action. Also known as moisture transport.
Broad Spectrum Antimicrobial An antimicrobial that effectively controls or kills at least 3 of the basic microorganism groups. This term is important to help give a specific encompassing term to technologies that offer protection from the gamut of microorganisms, without the sometimes vague nature of the term antimicrobial, which could mean kills just one type or kills many types.
Broadcloth A plain weave tightly woven fabric, characterized by a slight ridge effect in one direction, usually the filling. The most common broadcloth is made from cotton or cotton/polyester blends.
Brocade A heavy, exquisite jacquard type fabric with an all-over raised pattern or floral design. Common end-uses include such formal applications as upholstery, draperies, and eveningwear.
Brushing A finishing process for knit or woven fabrics in which brushes or other abrading devices are used on a loosely constructed fabric to permit the fibers in the yarns to be raised to create a nap on fabrics or create a novelty surface texture.
Bunting Can be either a cotton or wool fabric, woven in a plain open weave, similar to cheesecloth, and dyed in the piece. Cotton bunting is often woven with plied yarns. Wool bunting is woven with worsted worsted yarns, using strong, wiry wool.

Burlap A loosely constructed, heavy weight, plain weave fabric used as a carpet backing, and as inexpensive packaging for sacks of grain or rice. Also, as fashion dictates, burlap may also appear as a drapery fabric.
Burn-out A brocade-like pattern effect created on the fabric through the application of a chemical, instead of color, during the burn-out printing process. (Sulfuric acid, mixed into a colorless print paste, is the most common chemical used.) Many simulated eyelet effects can be created using this method. In these instances, the chemical destroys the fiber and creates a hole in the fabric in a specific design, where the chemical comes in contact with the fabric. The fabric is then over-printed with a simulated embroidery stitch to create the eyelet effect. However, burn-out effects can also be created on velvets made of blended fibers, in which the ground fabric is of one fiber like a polyester, and the pile may be of a cellulosic fiber like rayon or acetate. In this case, when the chemical is printed in a certain pattern, it destroys the pile in those areas where the chemical comes in contact with the fabric, but leave the ground fabric unharmed.
Buttonhole (eyelet) Formed by a contoured patch of zig-zag stitching, followed by a cut---a portion of which is circular. Eyelet buttonholes are usually used on heavy fabrics and/or with large buttons. A gimp or cord is usually contained within the stitches to provide a reinforcement along the edge of the hole.
Buttonhole (straight) Formed by two pairs of straight, parallel rows of zigzag stitching, followed by a single, straight knife cut. Each end of the row of stitching is secured by a bartack.
Buttons Specified by design, size, color, and type---such as brass, melamine, or pearl, buttons are either shanked (attached by passing threads through the shank's eye) or holed (attached by passing threads through the button's holes).

C

Calendering A process for finishing fabrics in which such special effects as high luster, glazing, embossing, and moiré are produced.
Calico A tightly-woven cotton type fabric with an all-over print, usually a small floral pattern on a contrasting background color. Common end-uses include dresses, aprons, and quilts.
Camel's Hair A natural fiber obtained from the hair of the Bactrian camel, a two-humped pack-carrying species. The fiber is used primarily in coats, sweaters, and suits.
Canvas Cotton, linen, or synthetic fabric made with a basic plain weave in heavy and firm weight yarns for industrial or heavy duty purposes. Also referred to as "duck", although the term "canvas" usually relates to the heavier, coarser constructions.
Capillary Action A process by which liquids are drawn through the fabric and into pores found between fibers and yarns.
Carding A process which eliminates fibers too short for inclusion in the spun yarn. The process also removes dirt and foreign matter still remaining in the fiber mass, and arranges the fibers into a very thin layer.
Cashmere - A luxury fiber obtained from the soft fleecy undergrowth of the Kashmir goat of Tibet, Mongolia, China, Iran, Iraq, and India. Most commonly used in sweaters, shawls, suits, coats, and dresses.
Cellulose A material derived from the cell walls of certain plants. Cellulose is used in the production of many vegetable fibers, as well as being the major raw material component used in the production of the manufactured fibers of acetate, rayon, and triacetate.
Challis A lightweight, soft plain weave fabric with a slightly brushed surface. The fabric is often printed, usually in a floral pattern. Challis is most often seen in fabrics made of cotton, wool, or rayon.
Chambray A plain woven fabric that can be made from cotton, silk, or manufactured fibers, but is most commonly cotton. It incorporates a colored warp (often blue) and white filling yarns
Chenille 1. A specialty yarn, characterized by a pile protruding on all sides, resembling a caterpillar. The yarn is produced by first weaving a fabric with a cotton or linen warp and a silk, wool, rayon, or cotton filling. The warp yarns are taped in groups of tightly woven filling yarns, which have been beaten in very closely. After weaving, the fabric is cut into strips between the yarn groups. Each cutting produces a continuous chenille yarn, which is then twisted, creating the chenille yarn, and giving the pile appearance on all sides of the yarn. The chenille yarn is used mainly for decorative fabrics, embroidery, tassels, and rugs. 2. A fabric woven from the chenille yarn.
Chiffon A plain woven lightweight, extremely sheer, airy, and soft silk fabric, containing highly twisted filament yarns. The fabric, used mainly in evening dresses and scarves, can also be made from rayon and other manufactured fibers.
Chino Classic all-cotton "Army twill" fabric made of combed two-ply yarns. Usually vat dyed, mercerized, and given a compressive shrinkage finish. Used traditionally for army uniforms, chino is now finding popularity sportswear and work clothes.
Chintz Glazed plain weave cotton fabric with a tioghtly spun fine warp and a coarser slack twist filling, often printed with brightly colored flowers or stripes. Named from Hindu word meaning spotted. Several types of glazes are used in the finishing process. Some glazes wash out in laundering, but others such as resin finishes are permanent. Unglazed chintz is called cretonne. Chintz end-uses include draperies, slipcovers, skirts, and summer dresses, and shirts.
Chintz A plain-weave fabric, which has been glazed to produce a polished look. Usually made of cotton, this fabric is most commonly used in blouses, dresses, draperies, and slipcovers.
Chlorinated Wool Wool in the fiber, yarn, or fabric form which are treated chemically to decrease felting shrinkage and increase ability to take dyes.
Circular Knit Weft knit fabric made on a circular needle-bed knitting machine, which produces fabric in tubular form. Common types include single or double knits. Seamless hosiery are also made on a circular knitting machine. Although allowances are made on the machine for knitting the welt and foot. See Knitting (Circular).
Cleaning Hand operation in which the basting threads are removed from the garment; usually done prior to the final pressing.
Clo Value A unit of thermal resistance. The insulation required to produce the necessary heat to keep an individual comfortable at 21 degrees Centigrade with air movement at .1 m/s. One clo is about equal to the insulation value of typical indoor clothing.
Closures Items used to close openings in apparel and other consumer textile products, i.e. buttons, buckles, hook and eye, snaps and zippers.
Coated Fabrics Fabrics that have been coated with a lacquer, varnish, rubber, plastic resin of polyvinyl chloride or polyethylene, or other substance to make them longer lasting or impervious to water or other liquids.
Collar Two or more thicknesses of fabric attached to the neckhole opening to provide a firm and neat-appearing finish.
Collar (Banded) The visible or panel portion of the collar is cut separately and attached to the neckband portion. This is normal dress shirt construction.
Collar (convertible) The panel or visible portion of the collar and the neckband portion are cut as one piece, but folded once along the length to produce the appearance of a banded collar.
Collar (Lined) A collar made by placing a piece of interlining between the two pieces of body fabric.
Collar (one piece) A collar constructed from a single piece of fabric with the center fold forming the outer edge.
Collar (padding) Attaching the under-collar to canvas with several rows of blindstitching.
Collar (sandwich) A collar which has the top-collar inserted between the canvas and the under-collar.
Collar (topstitched) A collar with an added row of stitching along the folded edges.
Collar (two-piece) A collar formed by joining two identical pieces, inverting and sometimes topstitching along the folded edges.
Color Abrasion Color changes in localized areas of a garment due to differential wear, such as the knees of blue jeans. Often evident in cross-dye shades of blends where durable press treatments are applied. Color abrasion is often called "frosting".
Colorfastness A term used to describe a dyed fabric's ability to resist fading due to washing, exposure to sunlight, and other environmental conditions.
Combing The combing process is an additional step beyond carding. In this process the fibers are arranged in a highly parallel form, and additional short fibers are removed, producing high quality yarns with excellent strength, fineness, and uniformity.
Comfort Stretch The term given to the freedom of movement experienced in the wearing of a garment that contains spandex, or has stretch engineered into a yarn through mechanical stretch construction.
Commercial Standards "Recorded voluntary standards of the trade." The U.S. Bureau of Standards issues Commercial Standards which are not laws, but are important as accepted voluntary benchmarks of performance and quality by the industry. These standards are usually referred to by number, and spell out test procedures and minimum performance guidelines.
Composite Fabric An engineered fabric made from two or more components. One component is often a strong fiber such as fiberglass, Kevlar®, or carbon fiber that gives the material its tensile strength, while another component (often called a matrix) is often a resin, such as polyester or epoxy that binds the fibers together.
Compression Fabric A high tenacity stretch fabric which, when in a close fitting garment, provides muscles with a firm compression fit that lessons vibrations, reduces fatigue, and keeps muscles energized. The fabric is usually made in a knit construction, using a series of gradient fibers with an open knit inner surface to create a moisture transfer environment.
Compression Stretch The name given to the expansive stretch that is created by the spandex fibers used in the development of a compression fabric.
Continuous Cure A method of curing durable press garments which uses a moving conveyor system to carry garments into and out of the curing oven. Also known as continuous oven.
Continuous Filament A long continuous, unbroken strand of fiber extruded from a spinneret in the form of a monofilament. Most manufactured fibers such as nylon, polyester, rayon, and acetate are made in continuous filament form.
Converter A person or a company which buys grey goods and sells them as finished fabrics. A converter organizes and manages the process of finishing the fabric to a buyers' specifications, particularly the bleaching, dyeing, printing, etc.
Converter A person or a company which buys grey goods and sells them as finished fabrics. A converter organizes and manages the process of finishing the fabric to a buyers' specifications, particularly the bleaching, dyeing, printing, etc.
Corduroy A fabric, usually made of cotton, utilizing a cut-pile weave construction. Extra sets of filling yarns are woven into the fabric to form ridges of yarn on the surface. The ridges are built so that clear lines can be seen when the pile is cut
Core Yarn A yarn in which one type of fiber is twisted or wrapped around another fiber that serves as a core. Core yarns are often used to make stretch fabrics where the core is spandex or rubber, and the outer wrapped fiber is a textured manufactured fiber such as polyester or nylon.
Core-Spun Yarns Consist of a filament base yarn, with an exterior wrapping of loose fiber which has not been twisted into a yarn. Polyester filament is often wrapped with a cotton outer layer in order to provide the strength and resiliency of polyester, along with the moisture-absorbent aesthetics and dye affinity of cotton. Sewing thread as well as household and apparel fabrics are made from these yarns.
Cotton A unicellular, natural fiber that grows in the seed pod of the cotton plant. Fibers are typically 1/2 inch to 2 inches long. The longest staple fibers, longer than 1 1/2 inch, including the Pima and Egyptian varieties, produce the highest quality cotton fabrics.
Count of Cloth The number of warp ends and picks per inch in a woven fabric. If a cloth is 68 X 72, it means there are 68 ends and 72 picks per inch in a woven fabric. A cloth that has the same number of ends and picks per inch in woven goods is called a square cloth. 80-square percale, for example, has 80 warp ends and 80 picks per inch.
Course The rows of loops or stitches running across a knitted fabric. Corresponds to the weft or filling in woven goods.
Crabbing A treatment used to set the cloth and yarn twists permanently in woolens and worsted goods.
Crease Resistant Finish Also referred to as CRF. Finishes used on fabrics that make them resistant to wrinkling and creasing, such as synthetic resin type finishes like durable press. Today some fabrics are made highly resistant to wrinkling through fiber blending and construction.
Crease Retention The ability of a cloth to hold or pleat or a crease, which has been intentionally created, through the use of a heat treatment. Heat setting of thermoplastic fibers causes creases to be permanently set.
Crepe-back Satin A satin fabric in which highly twisted yarns are used in the filling direction. The floating yarns are made with low twist and may be of either high or low luster. If the crepe effect is the right side of the fabric, the fabric is called satin-back crepe.
Crinoline A lightweight, plain weave, stiffened fabric with a low yarn count (few yarns to the inch in each direction).
Crocking The rubbing-off of dye from a fabric. Crocking can be the result of lack of penetration of the dyeing agent, the use of incorrect dyes or dyeing procedures, or the lack of proper washing procedures and finishing treatments after the dyeing process.
Crocking The tendency of excess dyes to rub off. Napped and pile fabrics in deep colors are most likely to crock. Industry has set standards and tests to measure and prevent crocking.
Crotch Seam The short seam from the back of the pants fly to the inseam.
Cuff (lined) A cuff with interlining placed between the two pieces of body fabric.
Cuff (one-piece) A two-ply cuff formed by folding over a single piece of fabric, usually with a lining in between.
Cuff (topstitched) A cuff with an added row of stitching along the folded edges.
Cuff (two-piece) A cuff in which two identical pieces of fabric, usually with a lining in between, are joined by a seam along the edge, then turned and sometimes topstitched near the folded edges.
Cuprammonium A process of producing a type of regenerated rayon fiber. In this process, the wood pulp or cotton liners are dissolved in an ammoniac copper oxide solution. Bemberg rayon is a type of Cuprammonium rayon.
Curing A baking process with the use of resin finishes, applying heat under carefully controlled conditions to a fabric or the garment, which cause a reaction in the finishing agents and make them work. Crease-retention, water repellency, wrinkle resistance, and durable press are examples of finishes that are cured.
Cut-on-cross Fabric that is cut so that the warp runs horizontally across the garment piece.
Cut-on-fold Fabric that is doubled, then cut.

D

Damask A glossy jacquard fabric, usually made from linen, cotton, rayon, silk, or blends. The patterns are flat and reversible. The fabric is often used in napkins, tablecloths, draperies, and upholstery.
Dart (cut-in) An open dart cut in approximately 12" under the armhole.
Dart (front or double) An additional closed dart located toward the front edge of the garment, used to get maximum waist suppression.
Dart (panel) A panel sewn full length to the front that is used for waist suppression.
Denier A system of measuring the weight of a continuous filament fiber. In the United States, this measurement is used to number all manufactured fibers (both filament and staple), and silk, but excluding glass fiber. The lower the number, the finer the fiber; the higher the number, the heavier the fiber. Numerically, a denier is the equivalent to the weight in grams of 9,000 meters of continuous filament fiber.
Denier Per Filament The size of an individual filament, or an individual staple fiber if it were continuous, The dpf is determined by dividing the yarn denier per filament by the number of filaments in the yarn.
Denim True denim is a twill weave cotton-like fabric made with different colored yarns in the warp and the weft. Due to the twill construction, one color predominates on the fabric surface.
Dobby Weave A decorative weave, characterized by small figures, usually geometric, that are woven into the fabric structure. Dobbies may be of any weight or compactness, with yarns ranging from very fine to coarse and fluffy. Standard dobby fabrics are usually flat and relatively fine or sheer. However, some heavyweight dobby fabrics are available for home furnishings and for heavy apparel
Doeskin Generally used to describe a type of fabric finish in which a low nap is brushed in one direction to create a soft suede-like feel on the fabric surface. End-uses include billiard table surfaces and men's' sportswear.
Donegal Tweed A medium to heavy, plain or twill weave fabric in which colorful yarn slubs are woven into the fabric. The name originally applied to a hand-woven woolen tweed fabric made in Donegal, Ireland. End-uses include winter coats and suits.
Dotted Swiss A lightweight, sheer cotton or cotton blend fabric with a small dot flock-like pattern either printed on the surface of the fabric, or woven into the fabric. End-uses for this fabric include blouses, dresses, baby clothes, and curtains.
Double Cloth A fabric construction, in which two fabrics are woven on the loom at the same time, one on top of the other. In the weaving process, the two layers of woven fabric are held together using binder threads. The woven patterns in each layer of fabric can be similar or completely different
Double Knit A fabric knitted on a circular knitting machine using interlocking loops and a double stitch on a double needle frame to form a fabric with double thickness. It is the same on both sides. Today, most double knits are made of I5O denier polyester, although many lightweight versions are now being made using finer denier yarns and blends of filament and spun yarns.
Double Knit A weft knit fabric in which two layers of loops are formed that cannot be separated. A double knit machine, which has two complete sets of needles, is required for this construction.
Double Weave A woven fabric construction made by interlacing two or more sets of warp yarns with two or more sets of filling yarns. The most common double weave fabrics are made using a total of either four or five sets of yarns.
Down The soft, fluffy fiber or underfeathers of ducks, geese, or other water fowl. Used primarily for insulation in outerwear garments.
Duck A tightly woven, heavy, plain-weave, bottom-weight fabric with a hard, durable finish. The fabric is usually made of cotton, and is widely used in men's and women's slacks, and children's play clothes.
Durability The ability of a fabric to resist wear through continual use.
Durable Press A treatment applied to the fabric in the finishing process in which it maintains a smooth attractive appearance, resists wrinkling, and retains creases or pleats during laundering.
Durable Water Repellent (DWR) Fabrics that retain their durability and their ability to repel water after wearing, washing, and cleaning. Typically involves a fabric with a coating
Dye (Piece) Dyeing of the fabric into solid colors after weaving or knitting.
Dye (Yarn) Dyeing of the yarn into solid colors before weaving or knitting.

E

Edge The front margin of the garment that extends from front corner to front corner.
Edge Tape A tape sewn along the front edge of a coat from top of the lapel to bottom of the facing. On less expensive coats, this tape starts at the bottom of the lapel (called the breakline). The tape is usually sewn with an edge-knife machine.
Elasticity The ability of a fiber or fabric to return to its original length, shape, or size immediately after the removal of stress.
Embossing A calendering process in which fabrics are engraved with the use of heated rollers under pressure to produce a raised design on the fabric surface.
Embroidery An embellishment of a fabric or garment in which colored threads are sewn on to the fabric to create a design. Embroidery may be done either by hand or machine.
Encapsulation A process in which the fibers of a fabric are coated with a filmy substance to create certain high performance qualities, such as breathability.
Ergonomic Seaming This apparel construction technology is aimed at maximizing comfort and ease of movement. The key feature of this seaming technology is that the seams are constructed ergonomically. Therefore, the seams flow according to the body's natural movements, regardless of the type of activity engaged in by the wearer. The seams are placed away from potential pressure points, in order to maximize comfort and movement.
Ergonomics The study of improving a garment design by enhancing the wearers' comfort, performance, or health.
Eyelet A type of fabric which contains patterned cut-outs, around which stitching or embroidery may be applied in order to prevent the fabric from raveling.

F

Face Finished Fabrics Fabrics which have surface treatments that provide a variety of looks and effects on the fabric surface. These include brushing, sanding, sueding, etc. The warp knit industry is specially innovative with face finishing techniques.
Facing A piece of fabric that is sewn to the collar, front opening, cuffs, or arms eye of a garment to create a finished look.
Faille A glossy, soft, finely-ribbed silk-like woven fabric made from cotton, silk, or manufactured fibers
Fell To join two pieces of material with the edges folded together using double needle stitching.
Felt A non-woven fabric made from wool, hair, or fur, and sometimes in combination with certain manufactured fibers, where the fibers are locked together in a process utilizing heat, moisture, and pressure to form a compact material.
Fiber The basic entity, either natural or manufactured, which is twisted into yarns, and then used in the production of a fabric.
Fiberfill - Specially engineered manufactured fibers, which are used as filler material in pillows, mattresses, mattress pads, sleeping bags, comforters, quilts, and outerwear
Filament - A manufactured fiber of indefinite length (continuous), extruded from the spinneret during the fiber production process.
Filling In a woven fabric, the yarns that run cross the fabric from selvage to selvage, and which run perpendicular to the warp or lengthwise yarns. Also referred to as the weft.
Findings Any extra items attached to a garment during the manufacturing process. This can include trims, buttons, hooks, snaps, or embellishments.
Finished Fabric A fabric that has gone through all the necessary finishing processes, and is ready to be used in the manufacturing of garments. These processes include bleaching, dyeing, printing, heat setting, etc.
Flame Resistant Fabrics treated with special chemical agents or finishes to make them resistant to burning. Today many fabrics achieve this property by using fibers that have this property built directly into the polymer. A fabric is considered flame resistant if it passes federal specifications for specific end-uses.
Flame Retardant A chemical applied to a fabric, or incorporated into the fiber at the time of production, which significantly reduces a fabric's flammability.
Flannel A medium-weight, plain or twill weave fabric that is typically made from cotton, a cotton blend, or wool. The fabric has a very soft hand, brushed on both sides to lift the fiber ends out of the base fabric and create a soft, fuzzy surface. End-uses include shirts and pajamas.
Flannelette A medium-weight, plain weave fabric with a soft hand, usually made from cotton. The fabric is usually brushed only on one side, and is lighter weight than flannel. End-uses include shirts and pajamas.
Flax The plant from which cellulosic linen fiber is obtained. Linen is used in apparel, accessories, draperies, upholstery, tablecloths, and towels.
Fleece The wool shorn from any sheep, or from any animal in the wool category.
Fleece Fabric A lightweight fabric with a thick, heavy fleece-like surface. It may be a pile or napped fabric, or either woven or knit construction. End uses include coats, jackets, blankets, etc. Fleece fabrics are available in a variety of constuctions: 1) Polarfleece® is the original fleece fabric, developed in 1979, by Malden Mills. It is typically used for non-technical garments, and it is only available at Malden Mills®; 2) Polartec®, also developed by Malden Mills, was created for today's high-performance technical garments, which provides enhanced durability warmth, wind resistance, breathability and weather protection.
Flocking A type of raised decoration applied to the surface of a fabric in which an adhesive is printed on the fabric in a specific pattern, and then finely chopped fibers are applied by means of dusting, air-brushing, or electrostatic charges. The fibers adhere only to the areas where the adhesive has been applied, and the excess fibers are removed by mechanical means.
Foulard A lightweight twill-weave fabric, made from filament yarns like silk, acetate, polyester, with a small all-over print pattern on a solid background. The fabric is often used in men's ties.
Four-way Stretch - A fabric that stretches both on the crosswise and lengthwise grains of the fabric. It is the same as two-way stretch.
Front (stitched down) - A front the has a double-turned hem that is stiched down full length of the front. The term may also refer to the shell (outside) front of self-goods.
Full-cut Not tapered.
Fungicide Kills fungi.
Fungistat Inhibits fungal growth.

G

Gabardine A tightly woven, twilled, worsted fabric with a slight diagonal line on the right side. Wool gabardine is known as a year-round fabric for business suiting. Polyester, cotton, rayon, and various blends are also used in making gabardine.
Gauge A measurement most commonly associated with knitting equipment. It can mean the number of needles per inch in a knitting machine. However, in full fashioned hosiery and sweater machines, the number of needles per 1-1/2 inches represents the gauge.
Gauze A thin, sheer plain-weave fabric made from cotton, wool, silk, rayon, or other manufactured fibers. End-uses include curtains, apparel, trimmings, and surgical dressings.
Georgette A sheer lightweight fabric, often made of silk or from such manufactured fibers as polyester, with a crepe surface. End-uses include dresses and blouses.
Geotextiles Manufactured fiber materials made into a variety of fabric constructions, and used in a variety civil engineering applications.
Gingham A medium weight, plain weave fabric with a plaid or check pattern. End-uses include dresses, shirts, and curtains.
Glass Fiber An inorganic fiber which is very strong, but has poor flexibility and poor abrasion resistance. Glass will not burn and will not conduct electricity. It is impervious to insects, mildew, and sunlight. Today, the primary use of glass fiber is in such industrial applications as insulation or reinforcement of composite structures.
Gorge The break between the collar and the lapel.
Greige Goods An unfinished fabric, just removed from a knitting machine or a loom. Also called grey goods.

H

Hand The way the fabric feels when it is touched. Terms like softness, crispness, dryness, silkiness are all terms that describe the hand of the fabric.
Hard Shell - A high-impact, abrasion-resistant outer fabric, which provides protection from the environment.
Heat Set Finish (Heat Sealing) A process of heat finishing that will stabilize many manufactured fiber fabrics in order that there will not be any subsequent change in shape or size. Heat setting is used to permanently impart a crease, a pleat, or durability into a fabric or garment---a finish that will remain through repeated washings and dry cleanings.
Heather A yarn that is spun using pre-dyed fibers. These fibers are blended together to give a particular look. (For example, black and white may be blended together to create a grey heathered yarn.) The term, heather, may also be used to describe the fabric made from heathered yarns.
Heavy Weight Also called expedition weight. Most often use din base layers. Thick and warm, it is usually brushed on the inside for warmth and wicking, and smooth on the outside to protect.
Hem (clean) The double fold of fabric secured with a row of stitching with the raw edge of the fabric buried within the fold.
Hem (raw) A single fold of fabric secured with a row of stitching, leaving the raw edge of the fabric exposed.
Hemp A coarse, durable bast fiber obtained from the inner bark of the hemp plant. Used primarily in twines and cordages, and most recently apparel.
Herringbone A variation on the twill weave construction in which the twill is reversed, or broken, at regular intervals, producing a zig-zag effect.
High Loft A term given to a fiber structure that contains more air then fiber. It is a lofty, low-density material that is used in such applications as fiberfill, insulation, etc.
High Visability Fabrics Fabrics that contain fluorescent materials in order to make the wearer visible in dim and dark lights. These fabrics have the ability to reflect on-coming lights, which cause them to glow in the dark.
Hollow Fiber Manufactured fiber made with a hollow center.
Hollow Filament Fibers Manufactured, continuous filament fibers that have a center void, which has been created through the introduction of air or other gas in the polymer solution, or by melt spinning through specially designed spinnerets during production.
Houndstooth Check A variation on the twill weave construction in which a broken check effect is produced by a variation in the pattern of interlacing yarns, utilizing at least two different colored yarns.
Hydrophilic Fibers Fibers that absorb water easily, take longer to dry, and require more ironing.
Hydrophobic Fibers Fibers that lack the ability to absorb water.

I

Infusion Technology An infused polymer construction process that reinforces the fabric of outerwear garments in the places where they take the most abuse: zipper and pocket flaps, and other high-abrasion areas. The technology blends polymers, penetrates deep into the inner fibers, and surrounds them to form a permanent bond. this tough, resilient matrix ensures a highly wear-resistant surface while allowing the fabric to remain lightweight and flexible. The infused polymer process eliminates the need for heavier-weight abrasion overlays, tapes anhd bindings, and adds increased strength to the most crucial points on the garment, which dramatically extends the life of the garment.
Inseam The distance from the bottom of a trouser leg to the crotch. The measurement is taken along the inside leg seam that joins the front and the back leg panels.
Insulation With respect to a fabric, a material that protects from the loss of warmth or the penetration of cold.
Interfacing Fabrics used to support, reinforce and give shape to fashion fabrics in sewn products. Often placed between the lining and the outer fabric., it can be made from yarns or directly from fibers, and may be either woven, nonwoven, or knitted. Some interfacings are designed to be fused (adhered with heat from an iron), while others are meant to be stitched to the fashion fabric.
Interlining An insulation, padding, or stiffening fabric, either sewn to the wrong side of the lining or the inner side of the outer shell fabric. The interlining is used primarily to provide warmth in coats, jackets, and outerwear.
Interlock The stitch variation of the rib stitch, which resembles two separate 1 x 1 ribbed fabrics that are interknitted. Plain (double knit) interlock stitch fabrics are thicker, heavier, and more stable than single knit constructions.

J

Jacquard Woven fabrics manufactured by using the Jacquard attachment on the loom. This attachment provides versatility in designs and permits individual control of each of the warp yarns. Thus, fabrics of almost any type or complexity can be made. Brocade and damask are types of jacquard woven fabrics.
Jacquard Knit A weft double knit fabric in which a Jacquard type of mechanism is used. This device individually controls needles or small groups of needles, and allows very complex and highly patterned knits to be created.
Jersey Fabric The consistent interlooping of yarns in the jersey stitch to produces a fabric with a smooth, flat face, and a more textured, but uniform back. Jersey fabrics may be produced on either circular or flat weft knitting machines.
Jersey Stitch A basic stitch used in weft knitting, in which each loop formed in the knit is identical. The jersey stitch is also called the plain, felt, or stockinet stitch.
Jute A bast fiber, chiefly from India, used primarily for gunny sacks, bags, cordage, and binding threads in carpets and rugs.

K

Kapok A short, lightweight, cotton-like, vegetable fiber found in the seed pods of the Bombocaceae tree. Because of its brittle quality, it is generally not spun. However, its buoyancy and moisture resistance makes it ideal for use in cushions, mattresses, and life jackets.
Knit Fabric Fabrics made from only one set of yarns, all running in the same direction. Some knits have their yarns running along the length of the fabric, while others have their yarns running across the width of the fabric. Knit fabrics are held together by looping the yarns around each other. Knitting creates ridges in the resulting fabric. Wales are the ridges that run lengthwise in the fabric; courses run crosswise.
Knit-de-knit A type of yarn texturizing in which a crimped yarn is made by knitting the yarn into a fabric, and then heat-setting the fabric. The yarn is then unraveled from the fabric and used in this permanently crinkled form.
Knitting (Circular) A weft knitting process where the fabric is a tube,.with the threads running continuously around the fabric. Double-knit fabrics are produced on a circular knitting machine equipped with two sets of latch needles situated at right angles to each other.
Knitting (Flat or Single) A weft knitting process where the fabric is in flat form. The threads run back and forth across the fabric. Shape can be added in the knitting process by increasing or decreasing the loops or stitches. Full-fashioned garments are made on a flat-knitting machine.
Knitting (Raschel) A versatile warp knitting made in plain and jacquard patterns; the fabrics are coarser than other warp knits. Raschel knitting machines have one or two sets of latch needles and up to thirty sets of guides that enable them to create a wide range of fabrics.
Knitting (Warp) A type of knitting in which the yarns generally run lengthwise in the fabric. The yarns are prepared as warps on beams. Examples of this type of knitting include tricot, Milanese, and Raschel knitting.
Knitting (Weft) A type of knitting, in which one continuous thread runs crosswise in the fabric making all of the loops in one course. Weft knitting types are circular and flat knitting.

L

Lamb's Wool The first clip of wool sheered from lambs up to eight months old. The wool is soft, slippery and resilient. It is used in fine grade woolen fabrics.
Lame' - A woven fabric using flat silver or gold metal threads to create either the design or the background in the fabric.
Laminated Fabric A term used to describe fabrics which have been joined together through the use of a high-strength reinforcing scrim or base fabrics between two plies of flexible thermoplastic film.. It can a bonded utilizing either foam itself, or some other material, such as adhesives, heat, or chemical bonding agents.. See BONDING.
Lapel The part of a garment that is turned back in the front. The front fold on a shirt that is a continuation of the collar.
Lapels (padding) Attaching the lapel to canvas with several rows of blindstitching.
Latent Heat The quantity of heat absorbed or released by a substance undergoing a change of state, such as ice changing to water or water to steam, at constant temperature and pressure. When a solid material is heated and reaches its melting point, it goes from solid to liquid. During this process the material absorbs a certain amount of heat, Despite the heat input, the temperature of the material stays at a relatively constant level, even though phase change is taking place. We thus speak of latent (concealed) heat having been taken up by the material.
Lawn A light, fine cloth made using carded or combed, linen or cotton yarns. The fabric has a crease-resistant, crisp finish. Linen lawn is synonymous with handkerchief linen. Cotton lawn is a similar type of fabric, which can be white, solid colored, or printed.
Left-hand twill Any twill weave which runs from the left. The twill or diagonal line on the face of the fabric will run from the upper left-hand corner to the lower right-hand corner of the fabric.
Leight Weight Having an airy weave. Used as a light weight base layer in apparel for aerobic activities and cool weather.
Leno Weave A construction of woven fabrics in which the resulting fabric is very sheer, yet durable. In this weave, two or more warp yarns are twisted around each other as they are interlaced with the filling yarns; thus securing a firm hold on the filling yarn and preventing them from slipping out of position. Also called the gauze weave. Leno weave fabrics are frequently used for window treatments, because their structure gives good durability with almost no yarn slippage, and permits the passage of light and air.
Linen A fabric made from linen fibers obtained from inside the woody stem of the flax plant. Linen fibers are much stronger and more lustrous than cotton. Linen fabrics are very cool and absorbent, but wrinkle very easily, unless blended with manufactured fibers. Linen is one of the oldest textile fibers.
Lining A fabric that is used to cover the inside of a garment to provide a finished look. Generally, the lining is made of a smooth lustrous fabric.
Loft High loft is thick and fluffy, low loft is thin and dense. The higher the loft, the better the insulation characteristic.
Loom A machine used for weaving fabrics.
Loom-Finished Material sold in the same condition in which the goods came from the loom---duck, webbing, canvas, burlap, etc.
Lyocell Fiber A manufactured fiber composed of regenerated cellulose. Lyocell has a similar hand and drape as rayon, but is stronger, more durable, and in many cases machine washable. It has a subtle luster and is rich in color. Lyocell possesses low shrinkage characteristics, as well as good absorbency and wrinkle resistant qualities.

M

Madras A lightweight plain weave cotton fabric with a striped, plaid, or checked pattern. A true madras will bleed when washed. This type of fabric is usually imported from India. End-uses are men's and women's shirts and dresses.
Matelassé A medium to heavyweight luxury fabric made in a double cloth construction to create a blistered or quilted surface. Common end-uses are upholstery, draperies, and evening dresses.
Melton A heavyweight, dense, compacted, and tightly woven wool or wool blend fabric used mainly for coats.
Membrane A thin, soft material made from a polymer which is laminated to the fabric to provide properties such as strength, water-proofing or wind-proofing to enhance the fabric?s performance.
Mercerization A process of treating a cotton yarn or fabric, in which the fabric or yarn is immersed in a caustic soda solution and later neutralized in acid. The process causes a permanent swelling of the fiber, resulting in an increased luster on the surface of the fabric, an increased affinity for dyes, and increased strength.
Merino A type of wool that originates from pure-bred Merino sheep. The best Merino wool comes from Italy.
Mesh A type of fabric characterized by its net-like open appearance, and the spaces between the yarns. Mesh is available in a variety of constructions including wovens, knits, laces, or crocheted fabrics.
Metallic An inorganic fiber made from minerals and metals, blended and extruded to form fibers. The fiber is formed from a flat ribbon of metal, coated with a protective layer of plastic, which reduces tarnishing. Metal used in apparel fabric is purely decorative.
Microclimate The temperature and humidity of the space between your skin and the base layer of clothing.
Micro-encapsulation A method of enclosing polymer additive materials in microscopic capsules, which can then be released under certain conditions to enhance performance properties.
Microfibers/Microdeniers The name given to ultra-fine manufactured fibers and the name given to the technology of developing these fibers. Fibers made using microfiber technology, produce fibers which weigh less than 1.0 denier. The fabrics made from these extra-fine fibers provide a superior hand, a gentle drape, and incredible softness. Comparatively, microfibers are two times finer than silk, three times finer than cotton, eight times finer than wool, and one hundred times finer than a human hair. Currently, there are four types of microfibers being produced. These include acrylic microfibers, nylon microfibers, polyester microfibers, and rayon microfibers.
Microfleece A soft, luxorous fabric with a velvety feel.
Micron A unit of measure that describes the average staple fiber diameter in a lot of wool. Over he past 30 years, the Micron measurement has evolved to become the predominant term used commercially to describe the fineness of a wool fiber. A Micron is determined by the actual measurement when the wool lots are tested for sale during wool processing. Most wool fibers range in the area of 18-40 micron. Merino wool falls into the 18-24 micron range. The 25-32 micron, medium range wool, is usually defined by the word "Shetland", and is used in such applications as blankets and knitwear apparel. The 33-40 range Micron usually describes the wool most often used in the carpet industry.
Microporous - A coating on a fabric that breathes through microscopic pores.
Middle Weight - A weave that is tighter than lightweight, which combines warmth and wickability.
Modacrylic Fiber - A manufactured fiber similar to acrylic in characteristics and end-uses. Modacrylics have a higher resistance to chemicals and combustion than acrylic, but also have a lower safe ironing temperature and a higher specific gravity than acrylic.
Mohair Hair fibers from the Angora goat. End-uses include sweaters, coats, suits, and scarves.
Moiré/Watermarked A corded fabric, usually made from silk or one of the manufactured fibers, which has a distinctive water-marked wavy pattern on the face of the fabric.
Moisture Regain The amount of water a completely dry fiber will absorb from the air at a standard condition of 70 degrees F and a relative humidity of 65%. Expressed as a % of the dry fiber weight.
Moisture Transport The movement of water from one side of a fabric to the other, caused by capillary action, wicking, chemical or electrostatic action.
Monk's Cloth A heavy weight cotton fabric utilizing the basket weave variation of the plain weave. Used for draperies and slip covers, monk's cloth is an example of 4 x 4 basket weave. It has poor dimensional stability and tends to snag.
Monofilament Any single filament, generally a coarser manufactured fiber. Monofilaments are generally spun individually, rather than being extruded through the spinneret in groups of filaments. Cross-sections may be of various shapes.
Monofilament A single filament of a manufactured fiber, usually made in a denier higher than 14. Monofilaments are usually spun singularly, rather than extruded as a group of filaments through a spinneret and spun into a yarn. End-uses include hosiery and sewing thread.
Muslin An inexpensive, medium weight, plain weave, low count (less than 160 threads per square inch) cotton sheeting fabric. In its unfinished form, it is commonly used in fashion design to make trial garments for preliminary fit.

N

Nainsook A lightweight plain weave cotton fabric, usually finished to create a luster and a soft hand. Common end-uses are infants' wear, blouses, and lingerie.
Nano-fiber Nano refers to 1 billionth of a meter, or 1 x 10-8 centimeter. 150,000 strands of a nano-fiber can fit across a human hair.
Nano-technology Complex technology that involves nano-size materials and combines science such as biology, chemistry and physics and engineering.
Nap A fuzzy, fur-like feel created when fiber ends extend from the basic fabric structure to the fabric surface. The fabric can be napped on either one or both sides.
Napping The raising of fibers on the face of the goods by means of teasels or rollers covered with card clothing (steel wires) that are about one inch in height. Action by either method raises the protruding fibers and causes the finished fabric to provide greater warmth to the wearer, makes the cloth more compact, causes the fabric to become softer in hand or smoother in feel, increases durability and covers the minute areas between the interlacings or the warp and the filling.
Net An open mesh fabric of rayon, nylon, cotton, or silk; made in a variety of geometric-shaped meshes of different sizes and weights, matched to various end-uses. The net is made by knotting the intersections of thread or cord to form the mesh.
Net An open fabric, which is created by connecting the intersections in a woven, knitted, or crocheted construction to form a mesh-like appearance that won't ravel. End-uses include veils, curtains, and fish nets.
Ninon A lightweight, plain weave, made of silk or manufactured fibers, with an open mesh-like appearance. Since the fabric is made with high twist filament yarns, it has a crisp hand. End uses include eveningwear and curtains.
Nonwoven Fabric A textile structure held together by interlocking of fibers in a random web, accomplished by mechanical, chemical, thermal or solvent means. Generally, crimped fibers that range in length from 0.75 to 4.5 inches are used.
Novelty Yarn A yarn that is intentionally produced to have a special or unique effect. These effects can be produced by twisting together uneven single yarns, by using yarns that contain irregularities, or by twisting yarns that contain a color variance. A slubbed yarn is an example of a novelty yarn.
Nylon Produced in 1938, the first completely synthetic fiber developed. Known for its high strength and excellent resilience, nylon has superior abrasion resistance and high flexibility.
Nytril A manufactured fiber, most often used in sweaters or pile fabrics, where little or no pressing is recommended, as the fiber has a low softening or melting point. However, it has also been successfully used in blends with wool for the purpose of minimizing shrinkage and improving the shape retention in garments.

O

Off-pressing Pressing done after the garment is completely sewn.
Olefirn (polyolefin/polypropylene) A manufactured fiber characterized by its light weight, high strength, and abrasion resistance. Olefin is also good at transporting moisture, creating a wicking action. End-uses include activewear apparel, rope, indoor-outdoor carpets, lawn furniture, and upholstery.
Open-shoulder construction A method used onb better coats that is characterized by hand-sewn lining shoulder seams.
Organdy A stiffened, sheer, lightweight plain weave fabric, with a medium to high yarn count. End-uses include blouses, dresses, and curtains/draperies.
Organza A crisp, sheer, lightweight plain weave fabric, with a medium to high yarn count, made of silk, rayon, nylon, or polyester. The fabric is used primarily in evening and wedding apparel for women.
Osnaburg A tough medium to heavyweight coarsely woven plain weave fabric, usually made of a cotton or cotton/poly blend. Lower grades of the unfinished fabric are used for such industrial purposes as bags, sacks, pipe coverings. Higher grades of finished osnaburg can be found in mattress ticking, slipcovers, workwear, and apparel.
Ottoman A tightly woven plain weave ribbed fabric with a hard slightly lustered surface. The ribbed effect is created by weaving a finer silk or manufactured warp yarn with a heavier filler yarn, usually made of cotton, wool, or waste yarn. In the construction, the heavier filler yarn is completely covered by the warp yarn, thus creating the ribbed effect. End uses for this fabric include coats, suits, dresses, upholstery, and draperies.
Outseam The distance from the bottom of the trouser leg to the top of the pant at the waist. The measurement is taken along the outside leg seam that joins the front and back leg panels, and includes the width of the waistband.
Oven Enclosed heating equipment used by garment manufacturers to apply heat for the purpose of applying heat to a garment to set, or cure (bake), a durable press finish on the article.
Oxford A fine, soft, lightweight woven cotton or blended with manufactured fibers in a 2 x 1 basket weave variation of the plain weave construction. The fabric is used primarily in shirtings.

P

Paisley A tear-drop shaped, fancy printed pattern, used in dresses, blouses, and men's ties.
Panné Velvet A type of lustrous, lightweight velvet fabric, usually made of silk or a manufactured fiber, in which the pile has been flattened in one direction.
Parachute Fabric A compactly woven, lightweight fabric comparable with airplane cloth. It is made of silk, nylon, rayon, cotton, or polyester.
Peau de Soie A heavy twill weave drapeable satin fabric, made of silk or a manufactured fiber, and used for bridal gowns and eveningwear.
Percale A medium weight, plain weave, low to medium count (180 to 250 threads per square inch) cotton-like fabric. End-uses include sheets, blouses, and dresses.
Performance Fabrics Fabrics made for a variety of end-use applications, which provide functional qualitites, such as moisture management, UV protection, anti-microbial, thermo-regulation, and wind/water resistance.
Permanent Press (Durable Press) Terms used to describe a garment which has been treated to retain its fresh appearance, crease, and shape throughout the life of the garment, Permanent press can be a misleading description, because no finish is completely permanent. Durable press or crease resistant are the more accepted terms, and are the ones approved by the Federal Trade Commission.
Permeability A textile characteristic which allows air, water, and water vapor to penetrate and pass through it.
Perspiration Resistant A treatment on a fabric which allows a fabric or a dye to resist perspiration.
Phase Change Materials A hydrophilic compound applied to a fiber or fabric which results in superior breathability and a moisture management system within the fabric that helps to maintain a comfortable body temperature when the garment is worn.
Pick A filling yarn that runs crosswise between selveges in woven goods. The pick intersects with the warp (or lengthwise yarn) to form a woven cloth.
Pile Fabric A fabric in which certain yarns project from a foundation texture and form a pile on the surface. Pile yarns may be cut or uncut in the fabric. Corduroy and velveteen are examples of cut filling pile fabrics.
Pile Knit A type of knit construction which utilizes a special yarn or a sliver that is interlooped into a standard knit base. This construction is used in the formation of imitation fur fabrics, in special liners for cold weather apparel such as jackets and coats, and in some floor coverings. While any basic knit stitch may be used for the base of pile knits, the most common is the jersey stitch.
Pile Weave A type of decorative weave in which a pile is formed by additional warp or filling yarns interlaced in such a way that loops are formed on the surface or face of the fabric. The loops may be left uncut, or they may be cut to expose yarn ends and produce cut pile fabric.
Pill A tangled ball of fibers that appears on the surface of a fabric, as a result of wear or continued friction or rubbing on the surface of the fabric.
Piping A narrow tape used to bind seams, or used for decoration.
Pique A knitted fabric that resembles a lightweight Bedford cord, with the wales or cords running in the warpwise or lengthwise direction.
Piqué A medium-weight fabric, either knit or woven, with raised dobby designs including cords, wales, waffles, or patterns. Woven versions have cords running lengthwise, or in the warp direction. Knitted versions are double-knit fabric constructions, created on multi-feed circular knitting machines.
Plaid A pattern consisting of colored bars or stripes which cross each other at right angles, comparable with a Scottish tartan.
Plain Edge (Bluff Edge) A construction in which the edges of the garment are not stitched.
Plain Weave A basic weave, utilizing a simple alternate interlacing of warp and filling yarns. Any type of yarn made from any type of fiber can be manufactured into a plain weave fabric.
Plaited Fabric A narrow fabric made by crossing a number of sturdy yarns diagonally, so each strand passes alternatively over or under one or more of the other stands. Typically used in shoe laces and suspenders.
Plaited Yarn A yarn covered by another yarn.
Pleats A portion of the fabric folded over, and secured by stitching or pressing.
Plied Yarn A twisting together of two or more single yarns in one operation.
Plissé A lightweight, plain weave, fabric, made from cotton, rayon, or acetate, and characterized by a puckered striped effect, usually in the warp direction. The crinkled effect is created through the application of a caustic soda solution, which shrinks the fabric in the areas of the fabric where it is applied. Plissé is similar in appearance to seersucker. End-uses include dresses, shirtings, pajamas, and bedspreads.
Ply Two or more yarns that have been twisted together. An automobile tire fabric yarn may be 9, 10, or 11 ply.
Pocket (patch) A pocket attached to the outside of the garment and constructed of self-fabric.
Pocket (quarter) The angle from the side seam.
Pocket (rule) A patch pocket attached on the outseam, halfway betweeen the hip and the knee of the garment; usually found on coveralls.
Pocket (serged) A pocket formed by joining two pieces of fabric and joining the edges with safety-stitching.
Pocket (slash) A pocket that must be entered through a slash on the garment. The pocket pouch is suspended from and attached to the slash.
Pocket (stitch and turn) Formed when two pieces of fabric are joined along the edges and turned so that the raw seam margin is inside of the finished pocket.
Pocket (stitched/topstitched) - The same as stitch and turn pocket, except with an added row of stitching along the folded edges.
Pocket (swing) The pocket pouch is suspended from and attached to the pocket opening.
Pocket Facing A piece of shell (outer) material super-imposed on the top of the pocket material at its opening to conceal the lining.
Polyester A manufactured fiber introduced in the early 1950s, and is second only to cotton in worldwide use. Polyester has high strength (although somewhat lower than nylon), excellent resiliency, and high abrasion resistance. Low absorbency allows the fiber to dry quickly.
Polymer A high molecular weight structure, which makes up the substance from which manufactured fibers are produced. The fiber is created by linking together the chain-like molecular units called monomers.
Polypropylene (Olefin or Polyolefin A manufactured fiber characterized by its light weight, high strength, and abrasion resistance. Polypropylene is also good at transporting moisture, creating a wicking action. End-uses include activewear apparel, rope, indoor-outdoor carpets, lawn furniture, and upholstery.
Pongee The most common form is a naturally colored lightweight, plain weave, silk-like fabric with a slubbed effect. End-uses include blouses, dresses, etc.
Poplin A fabric made using a rib variation of the plain weave. The construction is characterized by having a slight ridge effect in one direction, usually the filling. Poplin used to be associated with casual clothing, but as the "world of work" has become more relaxed, this fabric has developed into a staple of men's wardrobes, being used frequently in casual trousers.
Post-Cure A type of durable press finish in which the finish is applied to the fabric by the mill, but the garment manufacturer completes the cure of the finish by applying heat, using an oven, or press, or both to the completed garment.
Pre-Cure A finishing treatment in which the durable press finish is applied to the fabric and set, or cured, through the use of heat at the mill, prior to shipment of the fabric to the garment manufacturer.
Pre-Shrunk Fabrics which have received a treatment, which causes shrinking. Often done on cottons before cutting the fabric in order to remove the tendency for shrinkage in the finished garment. The percent of residual shrinkage must be indicated on the label of the treated goods or garments.
Press 1. A device that uses heat and pressure to remove wrinkles and creases and smooth fabrics during garment construction. 2. A device used to press or compress raw materials. 3. To iron in the home or commercial laundry. 4. To squeeze liquid out of a fabric through the use of roller presses.
PTFE Fabric A fabric made from Polytetrafluoroethylene, such as Gore-Tex.
Pucker The uneven surface caused by differential shrinkage in the two layers of a bonded fabric during processing, dry cleaning, or washing.
Purl Stitch A basic stitch used in weft knitting, which produces knit fabrics that have the same appearance on both sides. The purl stitch is frequently used in combination with the jersey and rib stitches to produce a knitted fabric design. Sweaters, knitted fabrics for infants and children's wear, knitted fabrics for specialized sportswear, and bulky knit fabrics are commonly made using the purl stitch.

Q

Quilting A fabric construction in which a layer of down or fiberfill is placed between two layers of fabric, and then held in place by stitching or sealing in a regular, consistent, all-over pattern on the goods.

R

Ramie A bast fiber, similar to flax, taken from the stalk of a plant grown in China.
Raschel Knit A warp knitted fabric in which the resulting knit fabric resembles hand crocheted fabrics, lace fabrics, and nettings. Raschel warp knits contain inlaid connecting yarns in addition to columns of knit stitches.
Rayon A manufactured fiber composed of regenerated cellulose, derived from wood pulp, cotton linters, or other vegetable matter. Today, various names for rayon fibers are taken from different manufacturing processes. The two most commonly used production methods for rayon are the cuprammonium process and the viscose process.
Repellency The ability of a fabric to resist such things as wetting and staining by water, stains, soil, etc.
Resiliency The ability of a fabric to spring back to its original shape after being twisted, crushed, wrinkled, or distorted in any way.
Resin The name commonly applied to synthetic chemical compounds polymerized on the fabric or yarn to give wash-and-wear and durable press properties, crush resistance, dimentional stability, and hand to fabrics.
Resin-Treated A finishing process associated with the application of synthetic chemical compounds to the fabric to provide wrinkle-resistance, wash-and-wear characteristics, or an improved hand.
Rib Knit A basic stitch used in weft knitting in which the knitting machines require two sets of needles operating at right angles to each other. Rib knits have a very high degree of elasticity in the crosswise direction. This knitted fabric is used for complete garments and for such specialized uses as sleeve bands, neck bands, sweater waistbands, and special types of trims for use with other knit or woven fabrics. Lightweight sweaters in rib knits provide a close, body-hugging fit.
Rib Weave One of the plain weave variations, which is formed by using: 1) heavy yarns in the warp or filling direction, or 2) a substantially higher number of yarns per inch in one direction than in the other, or 3) several yarns grouped together as one. Rib fabrics are all characterized by having a slight ridge effect in one direction, usually the filling. Such fabrics may have problems with yarn slippage, abrasion resistance, and tear strength. Examples of this construction include broadcloth, poplin, taffeta, faille, shantung, and cord fabric.
Ribbon A fillet or narrow woven fabric of varying widths, commonly one-quarter to three inches, having selvage edges, chiefly or rayon, silk, or velvet, and used for braiding, decoration, trimmings, etc.
Rickrack Flat braid in a zig-zag formation. Made from several types if fibers, it is used for many kinds of trimming on apparel.
Ring Spinning A system of spinning, using a ring spinning frame that drafts the roving, twists the yarn, and winds it on the bobbin continuously and simultaneously on one operation. Modern ring frames are suitable for spinning all counts up to 150s.
Rip-stop Nylon A lightweight, wind resistant, and water resistant plain weave fabric. Large rib yarns stop tears without adding excess weight to active sportswear apparel and outdoor equipment such as sleeping bags and tents.
Rise The length of trouser from the top of the waistband at the fly opening, around the crotch, to the top of the back waistband at the center.

S

Sailcloth Any heavy, plain-weave canvas fabric, usually made of cotton, linen, polyester, jute, nylon, etc. that is used for sails and apparel (i.e. bottomweight sportswear).
Sanforized Registered trademark of Cluett, Peabody & Co. for fabrics processed by machine so that residual shrinkage will not exceed 1% in either direction (according to the U.S.?s standard wash test CCC-T-191a),, despite repeated washings.
Saran Fiber A manufactured fiber which has an excellent resistance to sunlight and weathering, and is used in lawn furniture, upholstery, and carpets.
Sateen Fabric A fabric made from yarns with low luster, such as cotton or other staple length fibers. The fabric has a soft, smooth hand and a gentle, subtle luster. Sateen fabrics are often used for draperies and upholstery.
Sateen Weave A variation of the satin weave, produced by floating fill yarns over warp yarns.
Satin Fabric A traditional fabric utilizing a satin weave construction to achieve a lustrous fabric surface. Satin is a traditional fabric for evening and wedding garments. Typical examples of satin weave fabrics include: slipper satin, crepe-back satin, faille satin, bridal satin, moleskin, and antique satin.
Satin Weave A basic weave, characterized by long floats of yarn on the face of the fabric. The yarns are interlaced in such a manner that there is no definite, visible pattern of interlacing and, in this manner, a smooth and somewhat shiny surface effect is achieved. The shiny surface effect is further increased through the use of high luster filament fibers in yarns which also have a low amount of twist. A true satin weave fabric always has the warp yarns floating over filling yarns.
Saxony Originally a high grade coating fabric made from Saxony merino wool raised in Germany.
Schiffli Embroidery Originated in Switzerland, the word, Schiffli, means "boat", identifiable with the boat-shaped shuttle used in the frame. The lace effect is made by embroidering the motifs on a net ground.
Seam (book/booking) The raw edge hem done on a blindstitch machine, usually sewn in the side ans back seam outlets, and on the bottom turn-up.
Seam (french) A closure between two pieces of material, made by stitching,turning, and restitching, so as to conceal all raw edges.
Seam (open gorge) Both the collar and the facing are turned under, basted, and then the seam is felled (edges folded together) from the outside.
Seam (raised) A seam resulting after two pieces of fabric have been joined; one piece is folded back, and a second row of stitching is placed adjacent to the folded edge.
Seamless Knitting A unique process of circular knitting, done on either Santoni or Sangiacomo knitting machines. This circular knitting process essentially produces finished garments with no side seams, which require only minimal sewisng to complete the garment. Seamless knitting can transform yarn into complete garments in a fraction of the time it takes for traditional garment manufacturing, by minimizing the traditional labor-intensive steps of sutting and sewing.
Seamless Technology This term can refer to either "seamless knitting" (See Seamless Knitting), or "welding/bonding technology", which uses a bonding agent to attach two pieces of fabric together, and eliminates the need for sewing threads. (See welding.)
Seat The circumference of a pant, measured perpendicular to the fly opening and from the base of the fly.
Seersucker A woven fabric which incorporates modification of tension control. In the production of seersucker, some of the warp yarns are held under controlled tension at all times during the weaving, while other warp yarns are in a relaxed state and tend to pucker when the filling yarns are placed. The result produces a puckered stripe effect in the fabric. Seersucker is traditionally made into summer sportswear such as shirts, trousers, and informal suits.
Self-goods When the same material is used as a pocket lining, or in a waistband, collar and fly construction. Also called shell.
Selvage or Selvedge - The thin compressed edge of a woven fabric which runs parallel to the warp yarns and prevents raveling. It is usually woven, utilizing tougher yarns and a tighter construction than the rest of the fabric.
Serge A fabric with a smooth hand that is created by a two-up, two-down twill weave.
Serging An overcasting technique done on the cut edge of a fabric to prevent raveling.
Shantung A medium-weight, plain weave fabric, characterized by a ribbed effect, resulting from slubbed yarns used in the warp or filling direction. End-uses include dresses and suits.
Sharkskin A hard-finished, low lustered, medium-weight fabric in a twill-weave construction. It is most commonly found in men's worsted suitings; however, it can also be found in a plain-weave construction of acetate, triacetate, and rayon for women's sportswear.
Shell A fabric from which the garment is made.
Shuttle The boat-like devise on weaving machines, which carries the filling yarn wound on the bobbin. The shuttle moves from the shuttle box on one side of the loom, through the shed, and onto the shuttle box at the other side of the loom.
Side Opening An opening created by the facing tacked onto the swing pockets. It allows the wearer access to his trouser pockets. Typically found on coveralls.
Silk A natural filament fiber produced by the silkworm in the construction of its cocoon. Most silk is collected from cultivated worms; Tussah silk, or wild silk, is a thicker, shorter fiber produced by worms in their natural habitat. All silk comes from Asia, primarily China.
Singeing Process of burning off protruding fibers from fabrics to give the fabric a smooth surface.
Sisal A strong bast fiber that originates from the leaves of the Agave plant, which is found in the West Indies, Central America, and Africa. End-uses include cordage and twine.
Sizing The application of a size mixture to warp yarn. The purpose of this is to make the yarn smoother and stronger to withstand the strain of weaving, to provide an acceptable hand in the woven gray goods, and to increase fabric weight.
Sleeve Length The sleeves measured from the center of the neckline in the back to the end of the sleeve or cuff.
Sleeve Tacking Stitches which attach the sleeve to the lining along the sleeve inseams and elbow seams.
Sleeve Vent A finished slit or opening in the sleeve. Vents are usually secured by snaps or buttons at the base of the cuff.
Sliver A continuous bundle of loosely assembled untwisted fibers. These are fibers that are drawn from the card by the drawing frames, and are eventually twisted into a yarn during the sliver knitting process.
Sliver Knitting A type of circular knitting in which a high pile fabric is knitted by the drawing-in of the sliver by the knitting needles.
Smart Textiles Textiles that can sense and react to changes in the environment, such as changes from mechanical , thermal, chemical, magnetic and other sources.
Soft Shell Soft shell fabrics combine the benefits of hard shell fabrics with a breathable, flexible, comfortable fabric. Stretch wovens with a DWR treatment.
Soil Release A finish that has the purpose of increasing the absorbency of a fabric. on durable press blends. The finish allows the stain to leave the fabric faster, increases the wicking action for improved comfort, and therefore imparts greater ease in cleaning. Some soil release finishes also provide resistance to soiling as well as ease of soil removal.
Solution-dyed A type of fiber dyeing in which colored pigments are injected into the spinning solution prior to the extrusion of the fiber through the spinneret. Fibers and yarns colored in this manner are color-fast to most destructive agents.
Spacer Fabric Two separate fabrics faces knitted independently and then connected by a separate spacer yarn. These fabrics can be produced on both circular and flat knitting machines. Spacer fabrics have the properties of good breathability, crush resistance, and a 3D appearance.
Spandex Fiber A manufactured elastomeric fiber that can be repeatedly stretched over 500% without breaking, and will still recover to its original length.
SPF (Sun Protection Factor) SPF measures the effectiveness of sunscreen on the body. the test for SPF is done by using a living organism or body to measure the length of time it takes for the skin to redden without coverage or protection.
Spinneret A metal nozzle type device with very fine holes used in the spinning process of manufactured fibers. The spinning solution is forced or extruded through the small holes to form continuous filament fibers. The holes in the spinneret can vary in diameter to produce fibers of various denier.
Spinning This final operation in the production of a natural yarn, consists of of the drawing, twisting, and the winding of the newly spun yarn onto a device such as a bobbin, spindle, cop, tube, cheese, etc. In manufactured fibers, the spinning process is the extrusion of a spinning solution into a coagulation bath, a heated air chamber, or a cooling area in order to form a continuous filament or tow.
Sponging A pre-shrinkage process which involves the dampening with a sponge to woolen and worsted fabrics. The process is accomplished by rolling in moist muslin, or by steaming. This procedure is performed at the fabric mill prior to cutting to insure against a contraction of the material in the garment.
Spot Weave A woven construction in which patterns are built in at spaced intervals through the use of extra warp and/or extra fill yarns are placed in selected areas. These yarns are woven into the fabric by means of a dobby or Jacquard attachment.
Spun Yarn A yarn made by taking a group of short staple fibers, which have been cut from the longer continuous filament fibers, and then twisting these short staple fibers together to form a single yarn, which is then used for weaving or knitting fabrics.
Stain Repellent The ability of a fabric to resist wetting and staining by water.
Stain Resistance - A fiber or fabric property of resisting spots and stains.
Staple Fibers Short fibers, typically ranging from 1/2 inch up to 18 inches long. Wool, cotton, and flax exist only as staple fibers. Manufactured staple fibers are cut to a specific length from the continuous filament fiber. Usually the staple fiber is cut in lengths ranging from 1-1/2 inches to 8 inches long. A group of staple fibers are twisted together to form a yarn, which is then woven or knit into fabrics.
Stay A piece of fabric used to hold another piece of fabric in place, or to add strength to a seam or tack.
Stitch (Backstitch) Used at the beginning and end of stitching to reinforce and prevent raveling. Also called backtack or stay-stitch.
Stitch (Baste) A stitching which holds the fabric in place until permanent stitching has been completed.
Stitch (Blind) A stich that is not visible on one side of the fabric.
Stitch (Chain/Class 100) - A stitch formed with one or more needle threads, the look=ps of which are passed through the material and through the loops of the preceding threads.
Stitch (Contrasting) - When the stitching thread contrasts the garment color.
Stitch (Dbl. lock/class 400) A stitch formed with two or more groups of threads that interlace each other. The loops of needle thread are passed through the material where they are secured by looper threads; no bobbins used. This stitching ravels in one direction.
Stitch (Dbl. lock/class 600) Multi-needle stitches that provide the elasticity necessary for knits.
Stitch (hand/class 200) A stitch formed by hand with one or more needles---one thread per needle passing in and out of the material.
Stitch (Lock/class 300) A stitch formed with two or more groups of threads that interface each other. The loops of needle threads are passed through the material where they are secured by bobbin threads.
Stitch (overedge/class 500) A stitch formed with one or more groups of threads at least one of which passes around the edge of the material.
Stitch (safety) A combination chain-stitch and overedge stitch made simultaneously on the same sewing machine.
Stitch (Top) A second row of stitching close to the edge of a seam, after two or more pieces of fabric have been sewed together and turned to bury the raw seam margin side.
Stitch (Zig-zag) A stitch made on a sewing machine in which the needle bar comes down alternately on the right and left side of an imaginary center line. Also refers to the type of machine producing this stitch.
Storm Shell Wind proof, wind resistant outerwear.
Stretch Yarns Continuous filament synthetic yarns that have been altered through special treatments or modification to give them elasticity. Techniques include: twisting and untwisting, use of air jets, stuffer boxes, knife blades, crimping, heat setting, curling, steaming, or looping. Use of these yarns gives fabrics a degree of elasticity and comfort.
Substrate Fabric on which coatings or other fabrics are applied; a support.
Super Light Weight Term used to describe a fabric used in outerwear, which allows for a minimum pack volume and weight. These lightweight, packable garments offer the most versatile weather protection. Some of these fabrics have a protection layer on the membrane, which provides durability. This means that the garments made from the extra lightweight fabrics need no separate lining.
Surah A light weight, lustrous twill weave constructed fabric with a silk-like hand. Surah is the fabric of ties, dresses, and furnishings. It is available in silk, polyester, and rayon.

T

Taffeta A lustrous, medium weight, plain weave fabric with a slight ribbed appearance in the filling (crosswise) direction. For formal wear, taffeta is a favorite choice. It provides a crisp hand, with lots of body. Silk taffeta gives the ultimate rustle, but other fibers are also good choices.
Tape Fabric sewn to a garment at the front edges, armholes, shoulder, neck, sideseams, vents, bottoms, gorge seams, etc. It is usually designed to prevent distortion of a fabric edge or seam.
Tapestry A heavy, often hand-woven, ribbed fabric, featuring an elaborate design depicting a historical or current pictorial display. The weft-faced fabric design is made by using colored filling yarns, only in areas where needed, that are worked back and forth over spun warp yarns, which are visible on the back. End-uses include wall hangings and upholstery.
Tear Strength The force necessary to tear a fabric, measured by the force necessary to start or continue a tear in a fabric. Expressed in pounds or in grams, the most commonly used method for determining the tear strength is the Elmendorf tear test procedure.
Tensile Strength (Breaking Stregth) The strength shown by a fiber, yarn, or fabric to resist breaking under pressure. It is the actual number of pounds of resistance that a fabric will give before the material is broken on the testing machine.
Tension Control Weave A type of decorative weave, characterized by a puckered effect which occurs because the tension in the warp yarns is intentionally varied before the filling yarns are placed in the fabric.
Terry Cloth A typical uncut pile weave fabric. This fabric is formed by using two sets of warp yarns. One set of warp yarns is under very little tension; when the filling yarns are packed into place, these loose yarns are pushed backward along with the filling yarns, and loops are formed. Typical uses include towels, robes, and apparel.
Terry Velour A pile weave cotton fabric with an uncut pile on one side and a cut pile on the reverse side. Terry velour is valued for its soft, luxurious hand. Typical uses include towels, robes, and apparel.
Textured Yarns The yarns that result after undegoing the texturizing process, which can create crimping, looping, and otherwise modify the filament yarn for the purpose of increasing cover, abrasion resistance, insulation, warmth resilience, or moisture absorption, and to provide a different surface texture. When filament yarns are texturized, and then woven or knitted into fabrics, the result is that the finished fabric?s properties resemble a fabric that has been made from a spun yarn. Most of today's filament polyester is texturized.
Texturizing A process performed on specialized machinery which create bulk, stretch to the yarn, and therefore creates new aesthetics to the finished fabric.
Thermal Insulation The ability of a fabric to retain heat.
Thermoregulation The ability to maintain a constant temperature independent of dynamic (changing) environmental conditions.
Thread Count The number of ends and picks per inch in a woven cloth; the number of wales and courses per inch in a knit fabric. See "Count of Cloth".
Ticking A tightly woven, very durable fabric, usually made of cotton, and used for covering mattresses, box springs, pillows, and work clothes. The fabric can be made by using a plain, satin, or twill weave construction.
Ticking Compactly woven cotton cloth used for containers, covers for mattresses and pillows, sportswear (hickory stripes), institution fabric, and work clothes. It is striped cloth, usually white background with blue or brown stripes in the motif.
Tow A large bundle of manufactured filament fiber as they are extruded from the spinerette, and before they have been cut into staple fibers.
Triacetate A manufactured fiber, which like acetate, is made by modifying cellulose. However, even more acetate groups have been added to create this fiber. Triacetate is less absorbent and less sensitive to high temperatures than acetate. It can be hand or machine washed and tumble dried, with relatively good wrinkle recovery.
Tricot Knit A warp knit fabric in which the fabric is formed by interlooping adjacent parallel yarns. The warp beam holds thousands of yards of yarns in a parallel arrangement, and these yarns are fed into the knitting area simultaneously. Sufficient yarns to produce the final fabric width and length are on the beam. Tricot knits are frequently used in women's lingerie items such as slips, bras, panties, and nightgowns.
Trim-cut Tapered and tailored, or a form-fitting garment.
Trunk - Double the length of a coverall, from the center of the neckhole at the back to the point of the leg separation on the seat seam.
Tulle A lightweight, extremely fine, machine-made netting, usually with a hexagon shaped mesh effect. End-uses include dance costumes and veils.
Turning The reversing of two or more pieces of material that are seamed together for pressing or topstitching.
Tweed A medium to heavy weight, fluffy, woolen, twill weave fabric containing colored slubbed yarns. Common end-uses include coats and suits.
Twill Weave A basic weave in which the fabrics are constructed by interlacing warp and filling yarns in a progressive alternation which creates a diagonal effect on the face, or right side, of the fabric. In some twill weave fabrics, the diagonal effect may also be seen clearly on the back side of the fabric.
Twist A term that applies to the number of turns and the direction that two yarns are turned during the manufacturing process. The yarn twist brings the fibers close together and makes them compact. It helps the fibers adhere to one another, increasing yarn strength. The direction and amount of yarn twist helps determine appearance, performance, durability of both yarns and the subsequent fabric or textile product. Single yarns may be twisted to the right (S twist) or to the left (Z twist). Generally, woolen and worsted yarns are S-twist, while cotton and flax yarns are typically Z-twist. Twist is generally expressed as turns per inch (tpi), turns per meter (tpm), or turns per centimeter (tpc).

U

U.L. Down Ultra Light Down is used in women's and men's jackets. the concept is to make the lightest and warmest insulation layer available. U.L. Down jackets weigh less than a tee-shirt, blocks more wind, is warmer than even the heavist fleece jackets, and compress to the size of a water bottle. This outerwear can be used when warmth is critical, minimal weight is paramount, and space is at a premium.
Ultra-Light Weight Term used to describe a fabric used in outerwear, which allows for a minimum pack volume and weight. Lightweight packable garments offer the most versatile weather protection. Some of these fabrics have a protective layer on the membrane, which provides durability. This means that the garments made from extra lightweight fabrics need no separate lining.
Under-press To press the underside of a garment section during manufacturing to open the seams and give it shape.
UPF (Ultraviolet Protection Factor) The UPF rating indicates how effective a fabric is at blocking out solar ultraviolet radiation from reaching the skin. UPF ratings range from 15 to 50 with higher ratings indicating more effective blocking and therefore better protection for the wearer of a garment. Fabrics that test higher than UPF 50 are rated as UPF50+. UPF testing involves exposing a fabric to ultraviolet radiation (UVR) and measuring how much is tranmitted through the sample. Different wave-lengths of radiation in the UVR spectrum have different effects on human skin and this is taken into consideration when calculating the UPF rating. Factors that contribute to the UPF rating of a fabric are: *Composition of the yarns (cotton, polyester, etc) *Tightness of the weave or the knit (tighter improves the rating) *Color (darket colors are generally better) *Stretch (more stretch lowers the rating) *Moisture (many fabrics have lower ratings when wet) *Condition (worn and faded garments may have reduced ratings) *Finishing (some fabrics are treated with UV absorbing chemicals)
UV Degradation The breaking down of fibers or fabrics when exposed to ultraviolet rays.

V

Velour A medium weight, closely woven fabric with a thick pile. It can be made using either a plain weave or a satin weave construction. It resembles velvet, but has a lower cut pile. End uses include apparel, upholstery, and drapes.
Velvet A medium weight cut-pile constructed fabric in which the cut pile stands up very straight. It is woven using two sets of warp yarns; the extra set creates the pile. Velvet, a luxurious fabric, is commonly made with a filament fiber for high luster and smooth hand.
Velveteen A cotton cut-pile weave fabric, utilizing extra fill yarn construction, with either a twill or a plain weave back. The fabric is woven with two sets of filling yarns; the extra set creates the pile.
Virgin Wool New wool that has never been used before, or reclaimed from any spun, woven, knitted, felted, manufactured or used products.
Viscose The most common type of rayon. It is produced in much greater quantity than cuprammonium rayon, the other commercial type.
Voile A crisp, lightweight, plain weave cotton-like fabric, made with high twist yarns in a high yarn count construction. Similar in appearance to organdy and organza. Used in blouses dresses and curtains.

W

Waistband (one-piece) A single thickness of fabric that is doubled and stitched to the top of a pant.

Waistband (Two-piece) When two identical pieces of fabric are placed back-to-back at the top of a pant, raw edges turned inside, and joined with two widely spaced rows of stitching. the pant body is inserted betweeen and along one edge.
Warmth to Weight Ratio A measurement used to evaluate the effectiveness of an insulated product in relation to weather conditions and the environment. The insulation with the best rating is down. Down provides the best warmth to weight ratio over almost any other insulation material, which is why you will see down garments and sleeping bags as the primary choice for use in almost every high altitude, cold weather expedition.
Warp In woven fabric, the yarns that run lengthwise and is interwoven with the fill (weft) yarns.
Warp Knit A type of knitted fabric construction in which the yarns are formed into stitches in a lengthwise manner. Warp knits are generally less elastic than weft knits. Common examples of warp knits are tricot knits and raschel knits.
Washable - Materials that will not fade or shrink during washing or laundering. Labels should be read by the consumer to assure proper results. Do not confuse with "wash-and-wear".
Wash-and-Wear Ability of a garment to be washed by hand or in a washing machine and require little or no ironing. Also referred to as "easy care".
Watch Pocket A small pocket in the garment, typically located just below the front waistband of men's trousers and used to accomodate change or a pocket watch.
Water Repellent Fabrics that have been treated with a finish which cause them to shed water and resist water penetration, but are still air-permeable. Treatments can include wax coatings, resins, silicones, and fluorine derivatives. Such treatments do not close the pours of the fabric, while waterproof finishes do.
Water Repellent A term applied to fabrics that have been treated with a finish which causes them to shed water, but are still air-permeable.
Water Resistant A degree by which water is able to penetrate a fabric. Not to be confused with water-repellent. However, the terms are often used interchangeably.
Waterproof Materials that are impermeable by water.
Waterproof A term applied to fabrics whose pores have been closed, and therefore, will not allow water or air to pass through them.
Weaving The process of forming a fabric on a loom by interlacing the warp (lengthwise yarns) and the filling (crosswise yarns) perpendicular to each other. Filling is fed into the goods from cones, filling bobbins or quills, which carry the filling yarns through the shed of the loom. Filling may also be inserted into the material without the use of a shuttle, as in the case of a shuttleless loom. The three basic weaves are Plain, Twill, and Satin. All other weaves, no matter how intricate, employ one or more of these basic weaves in their composition. Variations on the basic weaves make a variety of different fabric surfaces and fabric strengths.
Weft In woven fabric, the filling yarns that run perpendicular to the warp yarns.
Weft Knit A type of knitted fabric in which yarns are formed into stitches in widthwise manner. Common examples of weft knits are circular knits and flat knits.
Weight of Cloth This term describes the variety of ways that fabric is sold: Ounces per linear yard, Yards per pound, and Ounces per square yard.
Welded Shell The outer layer of a bonded wor welded garment, such as a jacket.
Welding There are two basic methods for applying bonding or welded seams. The first method uses an adhesive film, and the application of heat to glue or laminate two substrates together. The second method involves gluing or attaching two fabrics, using ultrasonic technology. The creation and channeling of high frequency vibratory waves cause a rapid buildup of heat in synthetic fabrics to create the bonding.
Welt 1. A strip of material seamed to a pocket opening as a finishing, as well as a strengthening device. 2. A raised or swelled lap or seam. 3. A covered cord or ornamental strip sewed on a border or along a seam. 4. In knitting, it is flat-knitted separately and then joined to the fabric by looping or hand knitting, as the heel to the stocking. 5. A ribbed piece of knit goods used in forming the end of a sleeve or sock to prevent rolling or raveling.
Welt Lining Interlining for pocket welts.
Whipcord A woven fabric with a very steep and compacted twill appearance on the face of the goods. End-uses for the fabric include dress woolens, worsteds, or wool blends, and many types of uniforms.
White Goods A very broad term which implies any goods bleached and finished in the white condition. Some of the cotton white goods are muslin, cambric, dimity, lawn, longcloth, organdy, voile, etc.
White-on-White Some fabrics, such as men's shirtings or broadcloth, poplin, madras, etc., are made on a dobby or jacquard loom so the white motifs will appear on a white background.
Wickability The ability of a fiber or a fabric to disperse moisture and allow it to pass through to the surface of the fabric, so that evaporation can take place.
Wicking Dispersing or spreading of moisture or liquid through a given area by capillary action in a material.
Wigwan A converted cotton cloth, dyed black, brown or gray, and given a firm starched, plain calender finish, and used for interlinings in men's and boys's clothing to give body to the garment.
Wind Resistant The ability of a fabric to act against or oppose the penetration of wind or air, but it is not totally windproof.
Windproof The ability of a fabric to be nonpermeable to wind and air.
Woof Comes from the Anglo-Saxon "owef". It is another name for the warp or warp yarn. Sometimes in advertising textiles, the word has been used to imply filling yarn, and made to interchange with the other term, weft.
Wool Usually associated with fiber or fabric made from the fleece of sheep or lamb. However, the term "wool" can also apply to all animal hair fibers, including the hair of the Cashmere or Angora goat or the specialty hair fibers of the camel, alpaca, llama, or vicuna.
Worsted Fabric A tightly woven fabric made by using only long staple, combed wool or wool-blend yarns. The fabric has a hard, smooth surface. Gabardine is an example of a worsted fabric. A common end use is men's tailored suits.
Worsted System The textile process of manufacturing spun yarns from staple fibers usually over 3 inches in length. The main operations are carding, combing, drafting, and spinning.
Woven Fabric Fabrics composed of two sets of yarns. One set of yarns, the warp, runs along the length of the fabric. The other set of yarns, the fill or weft, is perpendicular to the warp. Woven fabrics are held together by weaving the warp and the fill yarns over and under each other.
Wrinkle Free A resistant to wrinkling created through the use of a variety of finishes and treatments.
Wrinkle Recovery Similar to resiliency. It is the ability of a fabric to bounce back after it has been twisted, wrinkled, or distorted in any way.

Y

Yarn: A continuous strand of textile fibers created when a cluster of individual fibers are twisted together. These long yarns are used to create fabrics, either by knitting or weaving.
Yoke (self): The entire back of a garment is one piece and has a single yoke superimposed on the outside.
Yoke (Two-pierce): Two identical pieces of fabric are joined to a shortened back piece to produce the total back.
Yokeless Shirt: The front and backs of a shirt are joined without a yoke facing.

Z

Zipper The physical parts of the zipper are: scoop teeth, chain, lock, pull tape, and slider. Zippers used in industrial clothing are metal or brass. Plastic zippers are used typical apparel garments. Zippers are used as a closure in pants, skirts, and dresses.