Small wonders for fashionable jeans
Textile chemicals: versatile and responsive to every new trend
When Italian designer Roberto Cavalli starts talking about jeans fashions he goes into raptures: “Jeans are my speciality and are probably the key to my success. I was able to transform basic denim into a luxury product - using patterns and designs generated by lasers and crystal applications. For the next season, I propose very light stretch jeans made precious by glitter applications.” As one of the pioneers of the “precious look” Cavalli relies on textile finishing products that make jeans not only blue, but also fashionable. Thomas Pfisterer, head of the Performance Chemicals for Textiles unit at BASF, states: “Without textile chemicals it would not be possible to create the fashionable jeans that are worn and loved by hundreds of millions of people around the globe. Our developments in the area of textile chemicals allow us to make a contribution to the current five to six fashion cycles each year”.
Trendy textile finishing - The “in” look for jeans: precious, clean and fade-out
Viewed historically, BASF made jeans fashion possible almost right from the beginning. The legendary German emigrant Levi Strauss had his riveted “waist overalls” patented in 1873 at the time of California’s great gold rush. Not long after, in 1890, BASF was granted the all-important patent to manufacture the blue synthetic (jeans) dye indigo on the industrial scale. Combined with the hard-wearing cotton fabric imported from the French city Nimes (de nimes = Denim), this added up to a fashion success story unrivalled to the present day. The world of jeans fashions owes its vitality to its ability to change constantly and combine individualism with the spirit of the times. Jeans fashions such as bleached, stone- or sand-washed, destroyed, fade-out, used-look, over-dyed, authentic or clean-look are all products of innovative textile finishing - and these are just a few examples.
The innovation begins with the treatment of the yarns used to produce the denim fabric. The cotton has to be prepared for processing, dyeing with indigo and weaving. Pretreatment products like detergents, sizing agents to make the fabric tear-resistant and smoothing agents for the cotton yarns are used during this phase. Here too, BASF is one of the world’s leading suppliers. The fabrics then have to be dyed, coated or printed - whatever is needed to create the desired effect. Gloss and glitter also present no problem for BASF’s range of textile coating chemicals. The final step is removing the excess textile chemicals. All processes and products are designed to meet strict health and ecology standards.
The “laundry” is where the look reflecting the current fashion trend - from used to clean - is applied. In the high-volume production of fashion jeans, the efficiency of the processes and the cost effectiveness of textile finishing are paramount, while for special pigment printing leading fashion designers use specialty chemicals such as liquid crystals that cost as much as EUR 1,000 or more per kilogram.
The prospects
Stefaan Willems, finish development manager for Denim at Levi Strauss & Co Europe, Middle East and Africa explains: “Advances in textile finishing are a source of inspiration flowing directly into each of our current collections. The used, worn and trashed looks are today’s most popular jeans fashions. Our ultimate dream at the moment is the clean look - indigo jeans in their purest form - completely “unwashed” but with a consistently high-quality appearance.”
The know-how of BASF textile experts is also in demand in translating this vision into reality - for example by applying finishing products after the dyeing process to optimise the color fastness and make sure the dye remains on the jeans even after washing. And perhaps blue jeans will soon be able to do even more than provide their wearers with the ultimate look. The textile industry and BASF researchers are working on the textiles of the future which will help regulate the wearer’s body temperature, resist acquiring unpleasant odors and will be “immune” to soiling. Promising market growth is expected for these “functional textiles.”
The denim look: blue outside, white inside
Blue jeans or denim jackets are blue on the outside but much lighter on the inside because of the weaving and yarn dyeing techniques employed. The term “denim” describes a tough cotton fabric produced by the twill weaving process, in which the longitudinal yarn (warp) is dyed with indigo blue and the transverse yarn (weft) remains white. The appearance of the fabric is thus determined by the blue warp yarn on the one side of the fabric and the light-colored weft yarn on the other.
Another secret of the denim look derives from the use of indigo, originally a plant-derived dye. In response to growing demand, the race to perfect the chemical synthesis of this increasing popular blue coloring agent began as early 1880. BASF chemists won the race in 1897 well ahead of their competitors. An interesting fact for everyone favoring the “back to nature” approach: all the indigo plants on the earth would not be enough to produce the approximately one billion pairs of blue jeans sold every year.
This demand can only be met with synthetic indigo. DyStar, a BASF joint venture company specialising in textile dyes, now delivers several thousands of metric tons of indigo annually to dye works around the world for the industrial dyeing of yarn for jeans.
Friday, December 19, 2008
NANO TECH: SMALL WONDERS TO TEXTILES
nano technology: small wonders to textiles
7.0 Indian scenario Department of Science and Technology, UGC have already started many programme in the nano technology area. Indian Premier research and academic institutions are working towards the development and innovation related to MEMS, Nano structures, Synthesis and characterization, Nano electronics, CNT and Nano-composites. Some of the Bangalore based private companies Biomix,Q-tex, Velbionano and Yashnano- also in the development and application of Nano technology. Nano- Tex, the US based nano technology company has planed to set up a research centre in Bangalore. Our Indian Government is phase in with the Nano technology mission.8.0 SummaryWorking at a billionth of a nanometer scale is a continuous source of new opportunities for the textile industry. Nanotechnology will not only help the marketing of fabric and fashion because of its unique and incompatible properties but it is also a revolution for human beings like the Internet. Nanotech can surely opens up an interesting new playing field for the textile industry in future.
7.0 Indian scenario Department of Science and Technology, UGC have already started many programme in the nano technology area. Indian Premier research and academic institutions are working towards the development and innovation related to MEMS, Nano structures, Synthesis and characterization, Nano electronics, CNT and Nano-composites. Some of the Bangalore based private companies Biomix,Q-tex, Velbionano and Yashnano- also in the development and application of Nano technology. Nano- Tex, the US based nano technology company has planed to set up a research centre in Bangalore. Our Indian Government is phase in with the Nano technology mission.8.0 SummaryWorking at a billionth of a nanometer scale is a continuous source of new opportunities for the textile industry. Nanotechnology will not only help the marketing of fabric and fashion because of its unique and incompatible properties but it is also a revolution for human beings like the Internet. Nanotech can surely opens up an interesting new playing field for the textile industry in future.
WONDERS ON TEEEXTILES
Plasma Works Wonders on Textiles
Today's sophisticated consumers look for additional functions in apparel, such as water resistance and UV protection.
Chemicals or resins with these desired properties are traditionally applied to textile surfaces by dispersion or coating methods, which nevertheless forge only weak bonding between the chemicals and the fabrics, resulting in short-lived added functions. Resin coating, in particular, could also undermine certain properties of the cloth concerned, such as its softness, breathability and appearance. In addition, these conventional processes require waste treatment systems for compliance with environmental regulations.
To address these problems, HKPC has developed an innovative treatment method to equip textiles with long-lasting additional functions such as resistance to crease, stain, water, UV and bacteria. The technology is based on the use of plasma, an electrically neutral, highly ionized gas composed of ions, electrons, and neutral particles. With short duration and high efficiency, the process does not affect the desirable properties of the textiles. It is also environmentally friendly and affordable to local manufacturers.
This new technology will add value to local clothing products and enhance the competitiveness of Hong Kong's textile and apparel industry.
Visit HKPC's Innovation Gallery to view product samples.
For further information, please contact Mr Raymond Chan of HKPC at tel. (852) 2788 5506 or e-mail: mkchan@hkpc.org
Today's sophisticated consumers look for additional functions in apparel, such as water resistance and UV protection.
Chemicals or resins with these desired properties are traditionally applied to textile surfaces by dispersion or coating methods, which nevertheless forge only weak bonding between the chemicals and the fabrics, resulting in short-lived added functions. Resin coating, in particular, could also undermine certain properties of the cloth concerned, such as its softness, breathability and appearance. In addition, these conventional processes require waste treatment systems for compliance with environmental regulations.
To address these problems, HKPC has developed an innovative treatment method to equip textiles with long-lasting additional functions such as resistance to crease, stain, water, UV and bacteria. The technology is based on the use of plasma, an electrically neutral, highly ionized gas composed of ions, electrons, and neutral particles. With short duration and high efficiency, the process does not affect the desirable properties of the textiles. It is also environmentally friendly and affordable to local manufacturers.
This new technology will add value to local clothing products and enhance the competitiveness of Hong Kong's textile and apparel industry.
Visit HKPC's Innovation Gallery to view product samples.
For further information, please contact Mr Raymond Chan of HKPC at tel. (852) 2788 5506 or e-mail: mkchan@hkpc.org
Monday, November 17, 2008
Biofunctional Textiles for a Better Quality of Life
Biofunctional textiles, innovative cosmeceuticals and nutraceuticals were among the more than 200 topics presented at the 8th International Congress of International Society of Cosmetic Dermatology on October 20-23, 2007 in Beijing. Health beauty, joy and high science were the symbols of this interesting meeting. The scientific papers were well selected from the scientific board chaired by Prof. Wei Liu Head of the dermatology department at General Hospital Air Force and Xuejun Zhang, president of the Chinese Medical Association.
Skin’s Function The natural function of the skin is to protect of the body against the loss of endogenous substances such as water and against environmental influences caused by exogenous substances. Its basic function includes protection against physical, chemical, and microbiological stimuli; secretion of sweat and sebum; regulation of body temperature; sensation of various outside changes; and serving as part of immune system (Fig.1). While it has been known for a long time that various physico-chemical features, including low pH, contribute to the naturally protective milieu of the skin, it is a rather recent discovery that skin and other epithelia harbor a large array of naturally occurring antimicrobial peptides, forming an important part of the innate immune system. Thus, epithelial defense against infection agents relies on the recognition of microbial products by pattern recognition receptors and the local production of antimicrobial peptides.
Skin’s Function The natural function of the skin is to protect of the body against the loss of endogenous substances such as water and against environmental influences caused by exogenous substances. Its basic function includes protection against physical, chemical, and microbiological stimuli; secretion of sweat and sebum; regulation of body temperature; sensation of various outside changes; and serving as part of immune system (Fig.1). While it has been known for a long time that various physico-chemical features, including low pH, contribute to the naturally protective milieu of the skin, it is a rather recent discovery that skin and other epithelia harbor a large array of naturally occurring antimicrobial peptides, forming an important part of the innate immune system. Thus, epithelial defense against infection agents relies on the recognition of microbial products by pattern recognition receptors and the local production of antimicrobial peptides.
Caption: Without Dida
These toll-like receptors are early sensors of microbial material in both epithelial cells and dendritic cells, thus initiating immune responses before the specific or immune system is alerted. However, human skin spends most of its time in close contact with clothing and garments made up of different fibers. Therefore, the basic function of clothing should be in line with the basic function of human skin. Innovative clothing should provide more protection than the natural skin. To that end, completely new textile technologies have recently been developed worldwide with the goal of giving additional functionality to garments.
P.S.NOTE:FOR FURTHER PAGES REFER LINK.
Saturday, November 15, 2008
COLOR FORECAST - Inspirations for Spring & Summer '09
"Colors speak all languages". They evolve from season to season. Effectively supplemented with other colors, they make intriguing combinations. The color kaleidoscope for the year 2009 is bright with saturated jewel tones. Darker shades temper the vibrancy with translucent and neutral hues. Stars of the season are nuances of red, palace and navy blues, hot pink and tangy lemon filling in the color palette. Shimmering shades of green with their own unique personality enhance the color palette bringing in a feeling of renewal to the garments. Followed by this, are a handful of pastels for the choice of dreamy designers.
Spring/Summer - 2009:
Traditionally the season of spring, with sprouting shoots, and the aroma of blossoming flowers; inspires a feeling of freshness and new beginnings. Designers feel inspired and pop out fashionable collections with vibrant shades. A myriad of colors; stronger and brighter continuing the 2008 trend will be seen in the summer and spring outfits. These shades create a dreamy summer mood where hues mute with the impact of light. Fashion savvy analysts foresee ten shades, an appealing assortment of vibrant shades, effectively supplemented by a few pastels as the trendy choice of designers in 2009.
- Palace Blue: This will be the favorite hue of fashion designers for this spring. This shade offers a mix of sophistication, and style to the color palette. Dots damask and patches unite in hues of blue, and create color effects as in baroque arts, convoluted with a rich look of classical elegance. Blue, the magnificent and aristocratic hue never leaves the color palette. This makes it an 'ever green' color.
- Fuchsia Red: Red is a color that mirrors intensity and power. This 'showstopper' shade, dominates the color palette adding a seductive appeal to the clothing. Not just for outfits, this color also suits for lipstick and nail polish selections. This is a bold color and obviously creates an intrepid statement, just what a celebrity requires to promote their new film. Bold is this hue that everything else needs to be kept simple so as to let the color stand out.
- Vibrant green: Outfits of this shade appears rich, and pops off the background. Apparels of this vibrant hue have a relaxed and casual look, but can be made to appear formal with a little touch here and there. A green attire paired with black makes a sophisticated outfit.
- Super Lemon: No longer tacky or gaudy, yellow in now in the row. This tangy lemon brings a vibrant and optimistic outlook to the collections of spring. A bold and dramatic color, it works well as an all-over color scheme. This eye-popping color brightens the look, and gives an undiluted impact of a solid color, making a fashion statement.
- Dark Citron: A tone inspired by the citrus green, brings a true revitalization to the summer and spring palette. This shade is calm and serious than most other hues. This shade creates a flurry in the fashion
- Lavender: Taking purple in a lighter direction, this luminous color presents a soft effect, extending the mystical aspects of the former. It gives out a soft and feminine feeling, especially when paired with baby pink. It gives a luxuriously edgy, and a neutral look.
- Slate Grey: Grey is the new black. An 'old tone' with a contemporary interpretation, this shade gives a retro-elegance look. Deep grey with a purplish interference appears translucent, and develops more depth, giving a new and unique dimension to the outfit. Military battle dress trends look appealing in this color.
- Lucite Green: This classic concept of uncomplicated fresh shades of green wrap the audience in an idea of holidays and aquatic sports. This trendy color adds a slight shimmer to the outfits, and is expected by the fashion designers to hold much strongly throughout 2009.
- Salmon Rose: A friendly and approachable hue, the salmon rose, flattering to most complexions, makes the summer glow. This subtle shade of orange creates an autumnal harvest mood, and stir up the bounty and richness of nature.
- Rose Dust: With rose undertones, this shade elapses from the typical neutrals. Paired with supplementing colors, this hue gives a monochrome and trendy appearance. Not just a soothing color for the hot summer, it also flatters any complexion. Many seasons have paid their homage to this shade and the forthcoming spring and summer is not an exception.
Colors are essential tools for all those working on fashion, and design business. They create fads and are the trend setters of tomorrow. Nuanced colors with extraordinary combinations create a different dimension for expressing a person's unique sense of style. Intimate shades of spring and summer would create a dreamy mood, where colors with the supplement of attires tailored in a proper fit makes the user look stylish and confident.
References:
- 'Fashion Color Futures', ICA (International Color Authority), Internal Textiles, No 858, June/July 2007.
- http://www.fashiontrendsetter.com
- http://www.lenzing.com
- http://www.design-options.com
- http://zinkedesign.wordpress.com/
- http://www.femalefirst.co.uk
Saturday, November 8, 2008
SMART TEX TECHNOLOGY.
Smart Technology
Smart textiles are materials and structures that sense and react to environmental conditions or stimuli, such as those from mechanical, thermal, chemical, electrical, magnetic or other sources.
Smart textiles are no longer a science-fiction fantasy. For example, there are in the market self-cleaning carpets, memory-shaped and environment-responsive textiles, and anti-insomniac micro-fibers.
According to the manner of reaction, smart textiles can be divided into:
¨How does a smart material work?
Figure 3. Diagram of a simulated smart technology.
 | The sensors provide a nerve system to detect signals |
| | The processor analyzes and evaluates the signals |
| | The actuators act upon the detected and evaluated signal either directly or from a central control unit |
SMART FABRICS & INTERACTIVE TEXTILES.
The European market for smart fabrics and interactive textiles (SFIT) represents about 300 million euro today and is growing at a yearly rate of about 20%. These smart textiles are used in ‘clothes that monitor your heart, measure the chemical composition of your body fluids or keep track of you and your local environment promise to revolutionize healthcare and emergency response.’ This is why the European Union has been funding several technological projects under the SFIT cluster umbrella for a grand total of 66 million euro. But read more…
You can see above the roadmap of the Smart Fabrics and Interactive Textiles cluster (SFIT) and flexible wearable systems. (Credit: SFIT) In this background, the SFIT team says that there are basically two kinds of smart clothes.
- The smart clothes with sensors or devices in pocket or in fabric such as microcomputers, flexible TV screens, micro cellular phone, solar cells, energy recovery systems and flexible keyboard. These devices are used mainly for communication, displaying colors, pictures, indications of mood, messages. Other devices or sensors, e.g. GPS devices, fall detectors, data loggers, accelerometer and activity detectors, can be placed in special pockets or attached in the garment.
- The smart clothes with sensors close to or in contact with the skin, which are more used for body sensing and monitoring. The sensors are enclosed in the layers of fabric, or it is the fabric itself which is used as sensors. Such sensors can be piezo-resistive yarns, optic fibers, and colored multi layers.
Here is a list of some current SFIT projects which are co-financed by the European Commission. You’ll find additional details here.
| Acronym | Project name | Start | End | Overall budget (M€) |
|---|---|---|---|---|
| MyHeart | Fighting cardiovascular diseases by preventive lifestyle & early diagnosis | Jan 2004 | Sep 2007 | 33 |
| BIOTEX | Bio-Sensing Textiles to Support Health Management | Sep 2005 | Feb 2008 | 3.1 |
| PROETEX | Protection e-Textiles: MicroNanostructured fibre systems for Emergency-Disaster Wear | Feb 2006 | Jan 2010 | 12.8 |
| STELLA | Stretchable Electronics for Large Area Applications | Feb 2006 | Jan 2010 | 13.2 |
| OFSETH | Optical Fibre Sensors Embedded into technical Textile for Healthcare | Mar 2006 | Jun 2009 | 2.3 |
| CONTEXT | Contactless sensors for body monitoring integrated in textiles | Jan 2006 | Jun 2008 | ? |
All these projects have interesting applications, but I don’t have enough space to give you full details about them. Let’s look at the Ofseth project as an example. “Optical fibres also offer a promising avenue for new smart clothing because of their potential flexibility and their capacity to use light both as an information carrier and a sensor in itself. The team behind the Ofseth project (see our feature article) is aiming at applications in oximetry – a clever non-invasive way to measure the oxygen content of blood. In a hospital setting, a clip is attached to a patient’s finger measuring a ratio in the absorption of red and infrared light passed through a patient’s finger, which varies depending on the state of oxygen-rich, bright red blood and oxygen-poor, dark red blood. Ofseth researchers hope to replicate the measure in clothing (without the need for the finger clip typically used in hospitals) by placing optical fibres around the neck of a smart garment.” You can readd additional details in a previous ICT Results article, “Optical sensors make MRI scans safer” (September 18, 2008).
The ICT Results article mentioned in the first paragraph of this post is just the first part of the three-part special series on smart textiles. The two other ones will soon appear officially on the ICT Results website — but they’re already available.
Wednesday, October 1, 2008
A bed for sufferers of SAD
Fabrics of life :: Nobel Textiles
‘Fabrics of Life’ is all about the interface between the science of design and the designs of science. The first project in the series, Nobel textiles, a journey into scientific discovery through future textiles, celebrates 90 years of MRC research institutes in 2007
By Brona McVittie :: March 2007
Nobel textiles
What do you get when you pair a scientific researcher with a textile designer? Designers fundamentally shape the way we live, while scientists pervade the very fabric of our lives. Nobel textiles involves a journey into the interface between science and design, a dialogue between leading researchers in both fields.
The languages of science and design may at first glance seem wildly different. Textiles are made with warps, wefts and shuttles on looms with treadles and heddles. Molecular research employs gels, arrays and assays to probe genes, proteins and pathways. Yet closer inspection reveals many conceptual symbioses.
The processes of science and design explore combinations of old and new technologies to create models. Hybrid designs might fuse intelligent textiles and weaving to make a glowing bed for sufferers of seasonal affective disorder. Scientists use nuclear transfer and embryo seeding to create mouse models for genetic disease research.
Science and design require a technical appreciation of form and structure to test and manipulate function and reveal new meaning. Both domains play a role in redefining our relationships with each other and the world around us. Both evoke new meaning, enriching culture.
The project
Design fellows from Central Saint Martins College of Art & Design are liaising with Nobel prize-winning scientists to develop textiles that visualise scientific discovery. The Fabrics of Life projects are jointly funded by the MRC and Epigenome NoE.
Friday, September 26, 2008
TEXTILE COLLECTIONS.
The collection of textiles, with about 730 items, is one of the most important at Wawel because of the items’ age and their connection with the royal residence. It includes king Sigismund Augustus’s (1520-1572) tapestries, commissioned by him in Brussels in the years 1550-1560. This is the largest collection of tapestries ever commissioned by one ruler (136 items have survived, including tapestries with Biblical scenes, animals, the king’s monograms against the backdrop of ornaments (named ‘grotesque’), and with the coats of arms of Poland and Lithuania. From the end of the 16th c. the collection belonged to the nation and was part of the Royal Treasury. Looted in 1795 by the Russians, it was reclaimed in the years 1922-1924. Biblical tapestries are exhibited in rotation in the chambers on the second floor of the castle, and the tapestries with animals, as well as grotesques with monograms and coats of arms on both floors.
The collection of European tapestries from the 15th to the 18th c. consists of over 70 items. It was amassed in the interwar period and after the Second World War, and includes the gem of Burgundy textile art from around 1460 – Story of a Knight with a Swan tapestry, and Decius Mus’s Death tapestry according to P.P. Rubens, and two textiles from a series depicting the Trojan war (Brussels, c. 1660, Erasmus and Frans de Pannemaker’s workshop).
A collection of eastern tents, the largest in Europe (13 tents, including 5 complete and fragments of 8 others) includes trophies won at Vienna on 12 September 1683 by Jan III Sobieski’s troops, and also works obtained by peaceful means in the 17th and 18th c., at a time of increased contact between the Polish Republic and the countries of the Muslim orient. The East is also represented in the Wawel collection by a very valuable Persian carpet from Safavid times, known as the Kraków-Paris carpet (2nd quarter of the 16th c.), 17th-c. Turkish banners won at Vienna (5 items) and one from the 19th c. There is also a collection of Turkish, Caucasian and Persian carpets and wall hangings (65 items) gathered by Włodzimierz and Jerzy Kulczycki in Lvov.
A historic collection of vexiliana (50 items) includes the wife of Sigismund Augustus, Catherine of Austria’s banner from 1553, the standard of Archduke Maximilian’s Silesian troops (1587), lost by him at Byczyna, King Charles X Gustav’s pennant, won at Rudnik (1656), and standards of noblemen’s mercenary forces from the 18th c.
Among silk and embroidered textiles of royal origin there are two noteworthy items: the gown of a knight of the Order of the Holy Ghost presented to Jan III Sobieski by Louis XIV (1676), Pope’s headwear– a gift from Innocent XI to the king (1684), and a wall hanging with the coats of arms of queen Ludovica Maria Gonzaga (mid 17th c.)
Polish artistic workmanship is documented by the collection of kaftan sashes (40 items) from manufactories in
Słuck, Kobyłka, Lipkowo, Grodno and Kraków; and a small collection of wall hangings (10 items) from the Potocki manufactory in Buczacz (post 1860 – 1939), and also tapestries from various centres (18th -20th c.) Valuable items in this group are knotted tapestries from the 18th c. (5 items) from the magnate manufactories of the Potocki and Ogiński families.
"Story of a Knight with a Swan" tapestry.
STORY OF A KNIGHT WITH A SWAN TAPESTRY. Tournai, c. 1460, Pasquier Grenier’s workshop.
Wool, silk, silver thread. Five scenes from a medieval poem about Gotfryd de Bouillon’s legendary ancestor. The last episode portrays historic figures from the Burgundy court: Prince Philip the Good, his wife Isabella of Portugal and his son Charles the Bold. Another tapestry from this series is in the Museum für Angewandte Kunst in Vienna. The oldest tapestry in the Polish collection.
"Paradise Bliss" tapestry.
PARADISE BLISS TAPESTRY, Brussels, c. 1550, based on Michiel Coxcie’s sketch (1499-1592), Jan de Kempeneer’s workshop. Wool, silk, gold and silver thread. From King Sigismund Augustus’s collection. The composition, belonging to the ‘History of the First Parents’ series presents seven scenes from the history of the creation and the fall of the First Parents simultaneously – one of Coxcien’s most beautiful creations, inspired by Roman art of Rafael’s school.
Verdure tapestry.
VERDURE TAPESTRY An Otter with a fish in its mouth. Brussels, c. 1555, based on the sketch of an Antwerp artist from the Pieter Coeck van Aelst’s school, Jan van Tieghem’s workshop. Wool, silk, gold and silver thread. From king Sigismund Augustus’s collection.
Tapestry with the coats of arms of Poland and Lithuania and a figure of Ceres.
TAPESTRY WITH THE COATS OF ARMS OF POLAND AND LITHUANIA AND A FIGURE OF CERES. Brussels, c. 1555, based on the sketch of an Antwerp artist from the school of Frans Floris and Cornelis Bos, Jan van Tieghem’s workshop. Wool, silk, gold and silver thread. From king Sigismund Augustus’s collection.
Tapestry with Shield-Bearing Satyrs.
TAPESTRY WITH SHIELD-BEARING SATYRS. Brussels, c. 1555, based on the sketch of an Antwerp artist from the school of Frans Floris and Cornelis Bos, signatures of two unidentified workshops. Wool, silk, gold and silver thread. From king Sigismund Augustus’s collection. One of a group of 13 door hangings with the royal monogram S.A. (Sigismund Augustus) against a grotesque.
Court banner.
COURT BANNER. Poland, 1553. Silk, tempera, gold and silver. Most probably commissioned for the coronation of Sigismund Augustus’s wife – Catherine of Austria (30 July 1553). The oldest existing banner with an insignia function. The Kingdom’s eagle with the Austrian coat of arms on its chest, is surrounded by a wreath of 22 burghers’ coats of arms. From the Royal Treasury, from 1796 in Tadeusz Czacki’s collection, then that of Izabela Czartoryska in Puławy, in the years 1848-1926 in Russia – reclaimed in 1926.
Wall hanging with Ludovica Maria Gonzaga’s coats of arms.
WALL HANGING WITH LUDOVICA MARIA GONZAGA’S COATS OF ARMS. (1610-1667). France or Poland, mid 17th c. Velvet, gold, silk and silver thread. The complex coat of arms of the queen, the wife of two Vasas – Ladislaus IV and John Casimir, is placed against the velours de Gênes background.
Decius Mus’s Death tapestry.
DECIUS MUS’S DEATH TAPESTRY. Brussels, c. 1650, based on Peter Paul Rubens’s design, with the signature of Frans van den Hecke’s workshop. One of a series of tapestries on the history of the heroic Roman leader.
Gown of a Knight of the Order of the Holy Ghost.
GOWN OF A KNIGHT OF THE ORDER OF THE HOLY GHOST. France, Paris, 1675-1676. Velvet, grosgrain, silk, gold and silver thread. Commissioned by king Louis XIV of France, The Great Master of the Order, and presented by him to king Jan III Sobieski, together with other order insignia, on 30 November 1676 in Żółkiew. In the years 1740-1812 in the Radziwiłł collection in Nieśwież. Taken to Russia in 1812; reclaimed from the Hermitage in 1924.
Kraków-Paris carpet.
KRAKÓW-PARIS CARPET, Persia, Tebriz, 2nd quarter of the 16th c. Wool, silk. Half of a medallion carpet representing ‘paradise’, a product of the royal manufactories from the times of shah Tahmasp (1524-1576). Won at Vienna in 1683 by Wawrzyniec Wodzicki; donated to Wawel cathedral by his grandson Eliasz in 1785. The other half of the carpet is in the Musée des Arts Décoratifs in Paris.
Oval tent with two masts.
OVAL TENT WITH TWO MASTS. Turkey, 1st half of the 17th c. Cotton, satin, gilt leather. Won at Vienna in 1683; in. 1728 it was taken to Dresden by August II. Bought from the Vettin collection and donated to Wawel by Szymon Szwarc in 1934. One of the most exquisite works of Turkish tent making.
Inscription banner.
INSCRIPTION BANNER, Turkey, Istanbul (?), 1st half of the 17th c. Silk, gold, silver and silk thread. Won at Vienna in 1683 and offered by Jan III Sobieski as a votive offering at St. Stanislaus’s altar in Wawel cathedral (24 December 1683). In 1803 it was deposited in the Czartoryski collection in Puławy, in 1848 it was taken to Russia and in 1924 it was reclaimed from the Hermitage.
Arcaded wall hanging.
ARCADED WALL HANGING. Turkey, 1st half of the 17th c. Damask, silk brocade, silk and gold thread. According to tradition won at Vienna in 1683 by one of the ancestors of its last owner, Franciszek Ksawery Pusłowski (1874-1967). It can be seen in Maria Pusłowska’s portrait from 1870, by Jan Matejko. One of the few complete objects of its kind which has survived in its original form.
Uszak medallion carpet.
USZAK MEDALLION CARPET. Turkey (Anatolia) or Poland, 1st quarter of the 17th c. Wool. On the carpet there is a shield with the coats of arms of Ogończyk, Szreniawa, Bogoria, Odrowąż and the letters CW, indicating the commissioner, Krzysztof Wiesiołowski (died 1637), who was the Great Lithuanian Marshall from 1635. The carpet could have been made in Turkey (using a design of the coat of arms supplied by the client), or in the estate of the Wiesiołowski family in Lithuania or Polesie. An identical item can be found in the Berlin Islamisches Museum.
For pictures refer the below URL
http://www.wawel.krakow.pl/en/index.php?op=22
The collection of European tapestries from the 15th to the 18th c. consists of over 70 items. It was amassed in the interwar period and after the Second World War, and includes the gem of Burgundy textile art from around 1460 – Story of a Knight with a Swan tapestry, and Decius Mus’s Death tapestry according to P.P. Rubens, and two textiles from a series depicting the Trojan war (Brussels, c. 1660, Erasmus and Frans de Pannemaker’s workshop).
A collection of eastern tents, the largest in Europe (13 tents, including 5 complete and fragments of 8 others) includes trophies won at Vienna on 12 September 1683 by Jan III Sobieski’s troops, and also works obtained by peaceful means in the 17th and 18th c., at a time of increased contact between the Polish Republic and the countries of the Muslim orient. The East is also represented in the Wawel collection by a very valuable Persian carpet from Safavid times, known as the Kraków-Paris carpet (2nd quarter of the 16th c.), 17th-c. Turkish banners won at Vienna (5 items) and one from the 19th c. There is also a collection of Turkish, Caucasian and Persian carpets and wall hangings (65 items) gathered by Włodzimierz and Jerzy Kulczycki in Lvov.
A historic collection of vexiliana (50 items) includes the wife of Sigismund Augustus, Catherine of Austria’s banner from 1553, the standard of Archduke Maximilian’s Silesian troops (1587), lost by him at Byczyna, King Charles X Gustav’s pennant, won at Rudnik (1656), and standards of noblemen’s mercenary forces from the 18th c.
Among silk and embroidered textiles of royal origin there are two noteworthy items: the gown of a knight of the Order of the Holy Ghost presented to Jan III Sobieski by Louis XIV (1676), Pope’s headwear– a gift from Innocent XI to the king (1684), and a wall hanging with the coats of arms of queen Ludovica Maria Gonzaga (mid 17th c.)
Polish artistic workmanship is documented by the collection of kaftan sashes (40 items) from manufactories in
Słuck, Kobyłka, Lipkowo, Grodno and Kraków; and a small collection of wall hangings (10 items) from the Potocki manufactory in Buczacz (post 1860 – 1939), and also tapestries from various centres (18th -20th c.) Valuable items in this group are knotted tapestries from the 18th c. (5 items) from the magnate manufactories of the Potocki and Ogiński families.
"Story of a Knight with a Swan" tapestry.
STORY OF A KNIGHT WITH A SWAN TAPESTRY. Tournai, c. 1460, Pasquier Grenier’s workshop.
Wool, silk, silver thread. Five scenes from a medieval poem about Gotfryd de Bouillon’s legendary ancestor. The last episode portrays historic figures from the Burgundy court: Prince Philip the Good, his wife Isabella of Portugal and his son Charles the Bold. Another tapestry from this series is in the Museum für Angewandte Kunst in Vienna. The oldest tapestry in the Polish collection.
"Paradise Bliss" tapestry.
PARADISE BLISS TAPESTRY, Brussels, c. 1550, based on Michiel Coxcie’s sketch (1499-1592), Jan de Kempeneer’s workshop. Wool, silk, gold and silver thread. From King Sigismund Augustus’s collection. The composition, belonging to the ‘History of the First Parents’ series presents seven scenes from the history of the creation and the fall of the First Parents simultaneously – one of Coxcien’s most beautiful creations, inspired by Roman art of Rafael’s school.
Verdure tapestry.
VERDURE TAPESTRY An Otter with a fish in its mouth. Brussels, c. 1555, based on the sketch of an Antwerp artist from the Pieter Coeck van Aelst’s school, Jan van Tieghem’s workshop. Wool, silk, gold and silver thread. From king Sigismund Augustus’s collection.
Tapestry with the coats of arms of Poland and Lithuania and a figure of Ceres.
TAPESTRY WITH THE COATS OF ARMS OF POLAND AND LITHUANIA AND A FIGURE OF CERES. Brussels, c. 1555, based on the sketch of an Antwerp artist from the school of Frans Floris and Cornelis Bos, Jan van Tieghem’s workshop. Wool, silk, gold and silver thread. From king Sigismund Augustus’s collection.
Tapestry with Shield-Bearing Satyrs.
TAPESTRY WITH SHIELD-BEARING SATYRS. Brussels, c. 1555, based on the sketch of an Antwerp artist from the school of Frans Floris and Cornelis Bos, signatures of two unidentified workshops. Wool, silk, gold and silver thread. From king Sigismund Augustus’s collection. One of a group of 13 door hangings with the royal monogram S.A. (Sigismund Augustus) against a grotesque.
Court banner.
COURT BANNER. Poland, 1553. Silk, tempera, gold and silver. Most probably commissioned for the coronation of Sigismund Augustus’s wife – Catherine of Austria (30 July 1553). The oldest existing banner with an insignia function. The Kingdom’s eagle with the Austrian coat of arms on its chest, is surrounded by a wreath of 22 burghers’ coats of arms. From the Royal Treasury, from 1796 in Tadeusz Czacki’s collection, then that of Izabela Czartoryska in Puławy, in the years 1848-1926 in Russia – reclaimed in 1926.
Wall hanging with Ludovica Maria Gonzaga’s coats of arms.
WALL HANGING WITH LUDOVICA MARIA GONZAGA’S COATS OF ARMS. (1610-1667). France or Poland, mid 17th c. Velvet, gold, silk and silver thread. The complex coat of arms of the queen, the wife of two Vasas – Ladislaus IV and John Casimir, is placed against the velours de Gênes background.
Decius Mus’s Death tapestry.
DECIUS MUS’S DEATH TAPESTRY. Brussels, c. 1650, based on Peter Paul Rubens’s design, with the signature of Frans van den Hecke’s workshop. One of a series of tapestries on the history of the heroic Roman leader.
Gown of a Knight of the Order of the Holy Ghost.
GOWN OF A KNIGHT OF THE ORDER OF THE HOLY GHOST. France, Paris, 1675-1676. Velvet, grosgrain, silk, gold and silver thread. Commissioned by king Louis XIV of France, The Great Master of the Order, and presented by him to king Jan III Sobieski, together with other order insignia, on 30 November 1676 in Żółkiew. In the years 1740-1812 in the Radziwiłł collection in Nieśwież. Taken to Russia in 1812; reclaimed from the Hermitage in 1924.
Kraków-Paris carpet.
KRAKÓW-PARIS CARPET, Persia, Tebriz, 2nd quarter of the 16th c. Wool, silk. Half of a medallion carpet representing ‘paradise’, a product of the royal manufactories from the times of shah Tahmasp (1524-1576). Won at Vienna in 1683 by Wawrzyniec Wodzicki; donated to Wawel cathedral by his grandson Eliasz in 1785. The other half of the carpet is in the Musée des Arts Décoratifs in Paris.
Oval tent with two masts.
OVAL TENT WITH TWO MASTS. Turkey, 1st half of the 17th c. Cotton, satin, gilt leather. Won at Vienna in 1683; in. 1728 it was taken to Dresden by August II. Bought from the Vettin collection and donated to Wawel by Szymon Szwarc in 1934. One of the most exquisite works of Turkish tent making.
Inscription banner.
INSCRIPTION BANNER, Turkey, Istanbul (?), 1st half of the 17th c. Silk, gold, silver and silk thread. Won at Vienna in 1683 and offered by Jan III Sobieski as a votive offering at St. Stanislaus’s altar in Wawel cathedral (24 December 1683). In 1803 it was deposited in the Czartoryski collection in Puławy, in 1848 it was taken to Russia and in 1924 it was reclaimed from the Hermitage.
Arcaded wall hanging.
ARCADED WALL HANGING. Turkey, 1st half of the 17th c. Damask, silk brocade, silk and gold thread. According to tradition won at Vienna in 1683 by one of the ancestors of its last owner, Franciszek Ksawery Pusłowski (1874-1967). It can be seen in Maria Pusłowska’s portrait from 1870, by Jan Matejko. One of the few complete objects of its kind which has survived in its original form.
Uszak medallion carpet.
USZAK MEDALLION CARPET. Turkey (Anatolia) or Poland, 1st quarter of the 17th c. Wool. On the carpet there is a shield with the coats of arms of Ogończyk, Szreniawa, Bogoria, Odrowąż and the letters CW, indicating the commissioner, Krzysztof Wiesiołowski (died 1637), who was the Great Lithuanian Marshall from 1635. The carpet could have been made in Turkey (using a design of the coat of arms supplied by the client), or in the estate of the Wiesiołowski family in Lithuania or Polesie. An identical item can be found in the Berlin Islamisches Museum.
For pictures refer the below URL
http://www.wawel.krakow.pl/en/index.php?op=22
Plasma works wonders on Textiles.
Today's sophisticated consumers look for additional functions in apparel, such as water resistance and UV protection.
Chemicals or resins with these desired properties are traditionally applied to textile surfaces by dispersion or coating methods, which nevertheless forge only weak bonding between the chemicals and the fabrics, resulting in short-lived added functions. Resin coating, in particular, could also undermine certain properties of the cloth concerned, such as its softness, breathability and appearance. In addition, these conventional processes require waste treatment systems for compliance with environmental regulations.
To address these problems, HKPC has developed an innovative treatment method to equip textiles with long-lasting additional functions such as resistance to crease, stain, water, UV and bacteria. The technology is based on the use of plasma, an electrically neutral, highly ionized gas composed of ions, electrons, and neutral particles. With short duration and high efficiency, the process does not affect the desirable properties of the textiles. It is also environmentally friendly and affordable to local manufacturers.
This new technology will add value to local clothing products and enhance the competitiveness of Hong Kong's textile and apparel industry.
Visit HKPC's Innovation Gallery to view product samples.
For further information, please contact Mr Raymond Chan of HKPC at tel. (852) 2788 5506 or e-mail: mkchan@hkpc.org
http://www.hkpc.org/html/eng/highlight/latest_services/manufacturing_tech/mt_plasma.jsp
Chemicals or resins with these desired properties are traditionally applied to textile surfaces by dispersion or coating methods, which nevertheless forge only weak bonding between the chemicals and the fabrics, resulting in short-lived added functions. Resin coating, in particular, could also undermine certain properties of the cloth concerned, such as its softness, breathability and appearance. In addition, these conventional processes require waste treatment systems for compliance with environmental regulations.
To address these problems, HKPC has developed an innovative treatment method to equip textiles with long-lasting additional functions such as resistance to crease, stain, water, UV and bacteria. The technology is based on the use of plasma, an electrically neutral, highly ionized gas composed of ions, electrons, and neutral particles. With short duration and high efficiency, the process does not affect the desirable properties of the textiles. It is also environmentally friendly and affordable to local manufacturers.
This new technology will add value to local clothing products and enhance the competitiveness of Hong Kong's textile and apparel industry.
Visit HKPC's Innovation Gallery to view product samples.
For further information, please contact Mr Raymond Chan of HKPC at tel. (852) 2788 5506 or e-mail: mkchan@hkpc.org
http://www.hkpc.org/html/eng/highlight/latest_services/manufacturing_tech/mt_plasma.jsp
Thursday, July 31, 2008
Learn about Tattoos.
Tattoos - think of them and the first word that comes to mind is 'style' or 'fashion'. But do you know how they originated? Tattoos have come a long, long way. Initially used for purposes such as identification and worship, tattoos have evolved into ultimate fashion statements today. Since when have tattoos been in existence? The art of tattooing has been around for a very long time. Not for a couple of decades, but for thousands of years.
Tattoo customs:
Why was tattooing done initially? What are the various purposes for which tattooing was done? Well, in different parts of the world, different groups of people undertook tattooing for different purposes. Tattoos, now popular fashion statements, were primarily done for the purpose of identification of tribe, marital status, motherhood, gang, etc. or as a form of prayer or offering to the Supreme Being.
Modern tattoos:
The art of tattooing has evolved tremendously over time. Everything has changed from the purpose of tattooing to the designs, all over the world. The general perspective about tattooing has changed.
Tattoos have come a long way from being used as symbols of identification and offerings to deities, and have now established themselves as fashion statements. Be it any part of the world, getting one's skin tattooed is hip and happening. It has become a highly personal statement. People prefer getting a design which conveys their own unique flavour. And, this trend is growing. A number of women are now going in for cosmetic tattooing. Women all over the world are discovering the cosmetic benefits that tattooing can provide such as camouflaging a skin defect or having lipstick or eyeliner permanently applied. Tattooing the eyeball is another recent trend in the fashion world.
The way in which the society looks at tattooed people has taken a complete turnaround. People who get tattooed are no longer considered outcasts or weird. In other words, social acceptance of tattooing has increased considerably. This has taken place on account of a number of celebrities from different spheres sporting tattoos Angelina Jolie, Paris Hilton, Sean Penn and Johnny Depp among others.
To sum it all up, this quote on tattooing would not be inappropriate:
"A tattoo is a true poetic creation, and is always more than meets the eye. As a tattoo is grounded on living skin, so its essence emotes a poignancy unique to the mortal human condition. "
Major references:
1) http://www.quotegarden.com
2) http://www.chinavista.com
3) http://www.vanishingtattoo.com
4) http://tattoojoy.com
5) http://en.wikipedia.org
6) http://www.smithsonianmag.com
7) http://www.tattooartist.com
8) http://tattoos.iloveindia.com
Tattoo customs:
Why was tattooing done initially? What are the various purposes for which tattooing was done? Well, in different parts of the world, different groups of people undertook tattooing for different purposes. Tattoos, now popular fashion statements, were primarily done for the purpose of identification of tribe, marital status, motherhood, gang, etc. or as a form of prayer or offering to the Supreme Being.
Modern tattoos:
The art of tattooing has evolved tremendously over time. Everything has changed from the purpose of tattooing to the designs, all over the world. The general perspective about tattooing has changed.
Tattoos have come a long way from being used as symbols of identification and offerings to deities, and have now established themselves as fashion statements. Be it any part of the world, getting one's skin tattooed is hip and happening. It has become a highly personal statement. People prefer getting a design which conveys their own unique flavour. And, this trend is growing. A number of women are now going in for cosmetic tattooing. Women all over the world are discovering the cosmetic benefits that tattooing can provide such as camouflaging a skin defect or having lipstick or eyeliner permanently applied. Tattooing the eyeball is another recent trend in the fashion world.
The way in which the society looks at tattooed people has taken a complete turnaround. People who get tattooed are no longer considered outcasts or weird. In other words, social acceptance of tattooing has increased considerably. This has taken place on account of a number of celebrities from different spheres sporting tattoos Angelina Jolie, Paris Hilton, Sean Penn and Johnny Depp among others.
To sum it all up, this quote on tattooing would not be inappropriate:
"A tattoo is a true poetic creation, and is always more than meets the eye. As a tattoo is grounded on living skin, so its essence emotes a poignancy unique to the mortal human condition. "
Major references:
1) http://www.quotegarden.com
2) http://www.chinavista.com
3) http://www.vanishingtattoo.com
4) http://tattoojoy.com
5) http://en.wikipedia.org
6) http://www.smithsonianmag.com
7) http://www.tattooartist.com
8) http://tattoos.iloveindia.com
NANO TECHNOLOGY IN TEXTILES.
Did you hear of a shirt that reads your body parameters and sends information to a remote computer through a wireless communication system?Have you watched leading athletes perform better on the tracks due to smart fabrics they wear?This is the wonder of Nano technology! The new age technology that optimises performance and provides smart solutions for the future.Nano Technology means configuring molecules to change in size and properties for enhancement as in the case of smart fabrics. When a glass trips on your trousers, its nanotech fabric will simply repel the juice drops. The Nano-Tex fabric coated with nanotech engineered molecules attach themselves to one another, and then attach to the fabric forming a nano shield against juice stains.Nano-Tex, located at Emeryville, California, is another pioneer in the field has been acknowledged for rescuing Burlington Industries by turning its textiles into high-tech wonders.Though Nano-Tex is available in chain stores and supermarkets, it may be coming to a soldier or police officer shortly. World's 20 largest textile mills have acquired Nano-Tex licensing technology so far. You may soon get to wear its products as this revolutionary innovation begins to appear in every-day life, though invisible to the naked eye, as yet.Working the military, emergency workers and doctors in this sunrise area, Bethesda, Md. based Sensatex, developed what it calls a 'smart shirt' - clothing having tiny microscopic wires interwoven into the fabric itself. Vital parameters like heart rate, respiration rate, body temperature, caloric burn, body fat, and UV exposure can be communicated to the doctors from the field itself.Sensatex technology can be incorporated into any fabric (cotton, lycra, wool, silk, etc.) or blend of fabrics without effecting the look, feel or integrity of the fabric that it is replacing.The SmartShirt System integrates advances in textile engineering, wearable computing, and wireless data transfer to permit the collection, transmission, and analysis of personal health and lifestyle data.“We haven't even begun the nano-revolution,” quips Sensatex CEO Robert Kalik. "Throughout society, the ability to unplug from wires and utilize smart textiles to gather the information and then disperse that information, that data, through wireless communications, will be really the textile of the future," Kalik adds.“We're solving seemingly mundane but actually quite large problems like spill resistance, wrinkles, perspiration, odor in every day clothing,” said Nano-Tex CEO Donn Tice.
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