Textile Prints Quotes

A great textile, like the William Morris Strawberry Thief, is a piece of art, but it takes a lot of time to make a piece of art. It isn't simply design either. You have to understand the fabrics and what they can bear. You have to understand the dyeing process and how to achieve certain colors and what will make the color last through the ages. If you make a mistake, you might have to begin again." "I don't think I know Strawberry Thief," Sadie said. "One moment," Mrs. Watanabe said. Mrs. Watanabe went into her bedroom, and she returned with a little footstool that was upholstered in a reproduction of Strawberry Thief. The pattern depicted birds and strawberries in a garden, and although Sadie hadn't known the name, she recognized the print when she saw it. "This was William Morris's garden. These were his strawberries. Those were birds he knew. No designer had ever used red or yellow in an indigo discharge dyeing technique before. He must have had to start over many times to get the colors right. This fabric is not just a fabric. It's the story of failure and of perseverance, of the discipline of a craftsman, of the life of an artist.

The walls billowed with printed fabric—yellow, green, indigo, purple—and a red hammer-and-sickle flag hung over the batik-draped mattress. It was as if a Russian cosmonaut had crashed in the jungle and fashioned himself a shelter of his nation’s flag and whatever native sarongs and textiles he could find.

Mrs. Watanabe loved hand painting, quilting, and the discipline of woven textiles, but she worried these techniques were a dying art. “Computers make everything too easy,” she said with a sigh. “People design very quickly on a monitor, and they print on some enormous industrial printer in a warehouse in a distant country, and the designer hasn’t touched a piece of fabric at any point in the process or gotten her hands dirty with ink. Computers are great for experimentation, but they’re bad for deep thinking.

A great textile, like the William Morris Strawberry Thief, is a pice of art, but it takes a lot of time to make a piece of art. It isn't simply design either. You have to understand the fabrics and what they can bear. You have to understand the dyeing process and how to achieve certain colors and what will make the color last through the ages. If you make a mistake, you might have to begin again." "I don't think I know Strawberry Thief," Sadie said. "One moment," Mrs. Watanabe said. Mrs. Watanabe went into her bedroom, and she returned with a little footstool that was upholstered in a reproduction of Strawberry Thief. The pattern depicted birds and strawberries in a garden, and although Sadie hadn't known the name, she recognized the print when she saw it. "This was William Morris's garden. These were his strawberries. Those were birds he knew. No designer had ever used red or yellow in an indigo discharge dyeing technique before. He must have had to start over many times to get the colors right. This fabric is not just a fabric. It's the story of failure and of perseverance, of the discipline of a craftsman, of the life of an artist.

A great textile, like the William Morris Strawberry Thief, is a piece of art, but it takes a lot of time to make a piece of art. It isn’t simply design either. You have to understand the fabrics and what they can bear. You have to understand the dyeing process and how to achieve certain colors and what will make the color last through the ages. If you make a mistake, you might have to begin again.” “I don’t think I know Strawberry Thief,” Sadie said. “One moment,” Mrs. Watanabe said. Mrs. Watanabe went into her bedroom, and she returned with a little footstool that was upholstered in a reproduction of Strawberry Thief. The pattern depicted birds and strawberries in a garden, and although Sadie hadn’t known the name, she recognized the print when she saw it. “This was William Morris’s garden. These were his strawberries. These were birds he knew. No designer had ever used red or yellow in an indigo discharge dyeing technique before. He must have had to start over many times to get the colors right. This fabric is not just a fabric. It’s the story of failure and of perseverance, of the discipline of a craftsman, of the life of an artist.

The two of them also seemed to have developed a light, hidden contempt for all the devices of civilization. For a life that must be maintained by washing things made of textiles and china and wood in water that had to be heated and soap that had to be made, for the elaborate techniques of making bread and fermenting vinegar and protecting chickens from predators when wild eggs lay in nests for the gathering. Contempt for the digging in the ground to make outhouses, for the footings of palisades, furrows, postholes, to extract rock for permanent and immovable walls. They seemed to have forgotten the years of childhood that preceded their life with the Kiowa as if it had only been a time of exile from their true lives in movement across the face of the great high-hearted plains and its sky and its winds. The smell of horse, the spartan lives, the unaccountable gifts of food that fell to the hand from nowhere. The men in a state of war from the moment they were born as if there were no other proper human occupation. Jube would have grown to be an aristocrat on horseback, silent and honed and lethal, and yet he had been returned to the nation of houses with roofs and white men, to the country of devices and printed books.

Print / textile design ● Sourcing (trims / textiles / factories) ● Product development ● Consulting (design / fit / production)

Aren’t fears of disappearing jobs something that people claim periodically, like with both the agricultural and industrial revolution, and it’s always wrong?” It’s true that agriculture went from 40 percent of the workforce in 1900 to 2 percent in 2017 and we nonetheless managed to both grow more food and create many wondrous new jobs during that time. It’s also true that service-sector jobs multiplied in many unforeseen ways and absorbed most of the workforce after the Industrial Revolution. People sounded the alarm of automation destroying jobs in the 19th century—the Luddites destroying textile mills in England being the most famous—as well as in the 1920s and the 1960s, and they’ve always been wildly off the mark. Betting against new jobs has been completely ill-founded at every point in the past. So why is this time different? Essentially, the technology in question is more diverse and being implemented more broadly over a larger number of economic sectors at a faster pace than during any previous time. The advent of big farms, tractors, factories, assembly lines, and personal computers, while each a very big deal for the labor market, were orders of magnitude less revolutionary than advancements like artificial intelligence, machine learning, self-driving vehicles, advanced robotics, smartphones, drones, 3D printing, virtual and augmented reality, the Internet of things, genomics, digital currencies, and nanotechnology. These changes affect a multitude of industries that each employ millions of people. The speed, breadth, impact, and nature of the changes are considerably more dramatic than anything that has come before.

FASHION DESIGN @ IIIFT Mumbai IIIFT’s curriculum aim to equip students with knowledge on Design Concept, Fashion Illustration, Textile Design, Pattern Making, Garment Construction, colours, silhouette, proportion, fabric, print, pattern, texture, sampling and construction; the prototyping stage of flat pattern cutting, structure, and embellishment till the promotion of the design. Focus on practical work makes IIIFT the best fashion design college in mumbai.

vice president, and secretary of the treasury beam down from the walls. Visitors pass a sequence of photographs and paintings detailing the history of paper money in the United States and culminating with a life-size re-creation of President Lincoln signing the legislation authorizing the federal government to print money. At the end of the long corridor, visitors watch a short video on the history of paper money, after which guides divide them into small groups before they enter the work area. These small groups wend their way through the carefully marked visitors’ corridors past glass-enclosed galleries from which they can watch the sheets of dollars being printed, examined, cut, and stacked as the guides dispense a constant flow of facts about America’s money: The dollar is printed on textile paper made by the Crane Company using a mixture of 75 percent cotton and 25 percent linen with a polyester security thread. The printing machines are made by Germans and Italians. Nearly half of the bills printed in a day are one-dollar notes, and 95 percent of the bills are used to replace worn-out bills. The average life span of a bill varies from eighteen months for the one-dollar note to an ancient nine years for a one-hundred-dollar note. A bill can be folded four thousand times before it tears.

Is organic cotton the future of sustainable development? With the increase in climate change and global warming, each step taken by us matters, be it even by transforming our cotton closet into an organic cotton closet. We are living in a time, where each step will either lead to an immense increase in global warming or will lead to the protection of our Mother Earth. So why not make our actions count and take a step by protecting our nature by switching to organic clothing?! As we know, the fashion industry is one of the largest industry of today, in which the cotton textiles lead the line together with the cotton manufacture setting them as the highest-ranked in the fashion industry. These pieces of regular cotton those are constructed into garments leads to 88% more wastage of water from our resources. Whereas Organic Cotton that has been made from natural seeds and handpicked for maintaining the purity of fibres; uses 1,982 fewer gallons of water compared to regular cotton. Gallons of water used by: Regular cotton: 2168 gallons Organic Cotton: 186 gallons Due to increase in market size of the fashion industry every year along with the cotton industry; regular cotton is handpicked by workers to keep up with the increase in demand for the regular cotton and because these crops are handpicked it leads to various damages and crises such as: Damage of fibres: As regular cotton is grown as mono-crop it destroys the soil quality, that exceeds the damage when handpicked by the farmers, leading to also the destruction of fibres because of the speed and time limit ordered. Damage of crops: Regular cotton leads to damage of crops when it is handpicked, as not much attention is paid while plucking it in bulk, due to which all the effort, time and resources used to cultivate the crops drain-out to zero. Water wastage: The amount of clean water being depleted to produce regular cotton is extreme that might lead to a water crisis. The clean water when used for manufacturing turns into toxic water that is disposed into freshwater bodies, causing a hazardous impact on the people deprived of this natural resource. Wastage of resources: When all the above-mentioned factors are ignored by the manufactures and the farmers, it directly leads to the waste of resources, as the number of resources used to produce the regular cotton is way high in number when compared to the results at the end. Regular cotton along with these damages also demands to use chemical dyes for their further process, that is not only harmful to our body but is also very dangerous to the workers exposed to it, as these chemicals lead to many health problems like earring aids, lunch cancer, skin cancer, eczema and many more, other than that people can also lose their lives when exposed to these chemicals for long other than that people can also lose their lives when exposed to these chemicals for long Know More about synthetic dyes on ‘Why synthetic dye stands for the immortality done to Nature?’ Organic cotton, when compared to regular cotton, brings a radical positive change to the environment. To manufacture, just one t-shirt, regular cotton uses 16% of the world’s insecticides, 7% pesticides and 2,700 litres of water, when compared to this, organic cotton uses 62% less energy than regular Cotton. Bulk Organic Cotton Fabric Manufacturer: Suvetah is one of the leading bulk organic cotton fabric manufacturer in India. Suvetah is GOTS certified sustainable fabric manufacturer in Organic Cotton Fabric, Linen Fabric and Hemp Fabric. We are also manufacturer of other fabrics like Denim, Kala Cotton Fabric, Ahimsa Silk Fabric, Ethical Recycled Cotton Fabric, Banana Fabric, Orange Fabric, Bamboo Fabric, Rose Fabric, Khadi Fabric etc.

introduction: Crescent Fabrics is an influential name in the fabric distribution industry, providing high-quality fabrics across multiple categories to suit a range of creative needs. Whether you're a quilter, home decorator, or fashion designer, Crescent offers a versatile selection of fabrics to bring your creative projects to life. Key Highlights of Crescent Fabrics: Fabric Collections: Crescent Fabrics is known for its curated fabric lines, often featuring unique prints and patterns. These collections are designed in collaboration with well-known fabric designers and cater to various aesthetic preferences—from modern and bold designs to more traditional or whimsical prints. Diverse Fabric Types: Crescent offers a variety of fabric types, including: Cotton fabrics: A primary focus for quilting, available in prints, solids, and blenders. Apparel fabrics: Rayon, linen, jersey knit, and cotton fabrics suitable for sewing garments. Home Decor fabrics: Textiles designed for creating upholstery, curtains, and other decorative items. Batiks and Speciality Fabrics: Unique hand-dyed fabrics that are highly valued in quilting and craft communities. Focus on Quality: Crescent Fabrics is dedicated to providing high-quality materials that can withstand the test of time. Their fabrics are known for their durability, softness, and vibrant colours, making them popular among quilters and other fabric enthusiasts.

When George Washington was inaugurated as president on April 30, 1789, he wore a simple brown suit with silver buttons, white stockings, and shoes with silver buckles. But he had taken care that the cloth was American made, woven in Hartford, Connecticut. Conscious of symbolism, as politicians always are, Washington wanted to encourage American manufactures, as industrial goods were then called, and virtually all cloth of good quality at that time had to be imported from England. But the industrialization of the British cloth industry in recent decades had given Britain an insuperable competitive advantage, and Britain was determined to keep it. The export of textile machinery was strictly forbidden. If the United States was to develop a textile industry of its own, therefore, it had only two choices. It could reinvent what was then high technology on its own, or it could steal it. The former was not very likely as the United States then lacked people familiar with the intricacies of textile manufacture. So it had to be stolen. Although British newspapers were forbidden to print them, clandestine advertisements—a sort of early capitalist samizdat—circulated by hand in the textile areas of the Midlands, offering big rewards to anyone willing and able to set up working textile machinery in the United States. One person who undoubtedly was aware of these enticements was Samuel Slater, who had been born in Belper, Derbyshire, in 1768, in the heart of the burgeoning textile manufacturing area. Slater was apprenticed in 1782 to Jedidiah Strutts, the owner of a textile mill in Belper and one of the first to make a fortune out of the new technology.