Patt Morrison's ensemble for Aug 8, 2013.; Credit: Dave Coelho/KPCC

Patt Morrison

What shall we call this color scheme? How about ‘Manhattan Mermaid’?

The petrel blues, the turquoises, the aquas – and then that uptown/downtown black, in this case a black linen duster over a Peter Max-style splashy-print silk dress. The way the hem pools at the sides a bit reminds me of the cut of Pre-Raphaelite ladies’ tunics; I’d love to dress “period” for a week to see whether I’d like it.

Imagine, a week of hoop skirts … a week of 1950s tailleurs … a week of bustles … a week of hobble skirts … a week of liberated Pre-Raphaelite velvet gowns!

The hat is so unmistakably summer in fabric and color that it doesn’t get out of the hatbox as much as it should, poor thing. And the shoes – I did not get them together, honest, but even though the prints don’t match, it’s the dissonance that makes them work better together than if they had.

The fabric is a very textured canvas and printed like batik. [They are not the soul of comfort – oh what a dreadful pun, but is there any other kind of pun? – but they look smart hooked over the railing of a chair in a chic bistro, which is where I intend to take them!]

And the bracelets, one from a great-aunt who had a fine eye for jewelry – the turquoise is almost Persian, it’s so green, but it’s more likely to be American. The cuff is definitely Southwest, with the rope-pattern trim and the irregularly shaped bezels, although the turquoises themselves are symmetrical.

Because I’m left-handed, my right arm bears the singular honor of being “ornamental,” and bearing the burden of the bling.

Summer on, ladies!

This content is from Southern California Public Radio. View the original story at SCPR.org.

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Location: Engineering Library- TS1767.P35 2016

I'm making 3/4" hexies, which means each of the six sides measures 3/4 of an inch. For these I need to cut 2" squares. (At the end of this post there is a table showing the size of fabric squares that corresponds to each of the standard sizes of hexie paper pieces.) To make each hexie flower, I need 6 squares for the petals and 1 square for the center. This is how I cut them.

The first thing I do, is sort my scraps into piles by size. The easiest to work with are strips. These I iron, sort by approximate width, and stack 6 strips high, aligning the top and right side edges. Then I cut each stack of 6 strips to exactly 2" wide by slightly more than 14" long. From each one of the strips, I will get one set of petals and one center. After cutting 5 stacks of strips (a total of 30 different fabrics), line them up next to each other as shown above, and cross-cut 2" squares through all of the strip piles at once.


Now, pick up the piles of 2" squares, and place them in stacks, alternating the orientation as shown above.


Next, use dressmaker's shears to trim the corners off of each of the piles. Each pile has 6 fabrics, so you are trimming 6 at a time. Re-stack them as shown above. Note that there are only 6 piles in each row. The 7th pile in each stack, I have set aside to use for centers. These I keep separate from the petal sets, selecting a center for each petal set later in the flower-making process.


The final step is to separate each of the piles into 6 separate piles, one for each of the fabrics. You will end up with 30 singles piles, or petal sets, each with 6 of the same cut and corner-trimmed fabric, enough to make 30 hexie flowers.

Certainly there are other, and even possibly more efficient ways to cut fabrics for hexies, but this way works well for me. Some quilters recommend using the squares without trimming the corners. I tried it that way, but went back to corner-trimming because I like not having the extra bulk toward the centers of each hexie. I'm especially glad I trimmed the corners on my Grandmother's Flower Garden hexie quilt, because it was that much less to stitch through in the hand-quilting process.

Sometimes, the fabric scraps are not strips, or would more effectively be cut as a chunk rather than strip. Basically it's the same process. I stack 6 different fabrics, aligning the top and right hand edges. From this stack, I cut a 4 x 6 inch block, and then cut that in half to make two 2 x 6 inch strips. I align the strips the same way as the 14" strips above, cross-cutting several at one time, and finish the same way as described above.

Fabric Cutting Guide for Different Sizes of Hexies

1/4" hexie  --- cut 1" squares
1/2" hexie  --- cut 1-1/2" squares
3/4" hexie  --- cut 2" squares
1" hexie ------ cut 2-1/2" squares
1-1/4" hexie - cut 3" squares
1-1/2" hexie - cut 3-1/2" squares
2" hexie ------ cut 4-1/2" squares
3" hexie ------ cut 6-1/2" squares
4" hexie ------ cut 8-1/2" squares
6" hexie ------ cut 12-1/2" squares

A very handy, and more complete cutting guide is available from Paper Pieces, which is where I get my pieces. Nope, I don't cut my own; too boring, and I really like the precision of die-cut paper pieces!

For a lot more helpful tips on making a hexie quilt, please see these posts:

Grandma's Flower Garden - 3/4 Inch Hexie Quilt - Time Study

Hand Quilting a Hexie Quilt

Hexie Quilt - Embroidery Quilting in Flower Centers

Hexie Quilt - Paper Pieces are GONE + Tips

Hexie Quilt - To Fix or Not to Fix

Hexie Quilt Top - Almost Finished

Hexies Galore - Grandma's Flower Garden

Grandma's Flower Garden Quilt - I'm Doin' It!

Ann-Sofie Johansson, H&M’s head of Womenswear Design, talks about circularity in fashion, sustainable fabrics and why she does not believe in fast fashion

Solid, patterned or embroidered, fabrics can add a touch of elegance to your home, writes Teja Lele Desai

Paola D’Angelo discusses how her team develops high-performance textiles to protect and support soldiers on the battlefield

Scientists test various kinds of cloth for their ability to filter aerosols

Patt Morrison's ensemble for Aug 8, 2013.; Credit: Dave Coelho/KPCC

Patt Morrison

What shall we call this color scheme? How about ‘Manhattan Mermaid’?

The petrel blues, the turquoises, the aquas – and then that uptown/downtown black, in this case a black linen duster over a Peter Max-style splashy-print silk dress. The way the hem pools at the sides a bit reminds me of the cut of Pre-Raphaelite ladies’ tunics; I’d love to dress “period” for a week to see whether I’d like it.

Imagine, a week of hoop skirts … a week of 1950s tailleurs … a week of bustles … a week of hobble skirts … a week of liberated Pre-Raphaelite velvet gowns!

The hat is so unmistakably summer in fabric and color that it doesn’t get out of the hatbox as much as it should, poor thing. And the shoes – I did not get them together, honest, but even though the prints don’t match, it’s the dissonance that makes them work better together than if they had.

The fabric is a very textured canvas and printed like batik. [They are not the soul of comfort – oh what a dreadful pun, but is there any other kind of pun? – but they look smart hooked over the railing of a chair in a chic bistro, which is where I intend to take them!]

And the bracelets, one from a great-aunt who had a fine eye for jewelry – the turquoise is almost Persian, it’s so green, but it’s more likely to be American. The cuff is definitely Southwest, with the rope-pattern trim and the irregularly shaped bezels, although the turquoises themselves are symmetrical.

Because I’m left-handed, my right arm bears the singular honor of being “ornamental,” and bearing the burden of the bling.

Summer on, ladies!

This content is from Southern California Public Radio. View the original story at SCPR.org.

BBCrafts has become one of the largest wholesalers and retail businesses that provide a huge collection of innovative products at the lowest price.

Disclosed is a fabric for an airbag including a polyester fiber, and particularly to a polyester fabric for an airbag of which toughness is 3.5 to 6.0 kJ/m3 and tearing strength measured according to the ASTM D 2261 TONGUE method is 18 to 30 kgf, wherein the fabric includes polyester fiber of which toughness is 70 to 95 J/m3, a method of preparing the same, and an airbag for a car including the same.

Crimp-imbalanced fabric systems are accomplished by varying the levels of yarn crimp within a single fabric layer and across layers of a multi-layer fabric system. The method includes developing a crimp in the yarn (utilized for producing a fabric layer) by optionally pulling the yarn through a solution that substantially coats the yarn. The optionally removable coating has a thickness that ensures a proper amount of crimp in the yarn. The tension in the yarn is controlled; the yarn is weaved; and a crimp is applied in the yarn. Once the crimp is applied, families of the crimped yarn are utilized as a single layer or multiple layer system to increase performance attributes including enhanced energy absorption.

A method weaves pile fabrics with at least two different pile heights (a, b) in the same pile row, wherein the fabrics have weft threads, ground warp threads and pile-warp threads (1, 2), wherein these pile-warp threads are interlaced in the fabric, according to a pattern, in a figure-forming manner or are inwoven in a non-figure-forming manner, and which, when they are figure-forming, form pile with a well-defined pile height. The method includes a first set of pile warp threads, under light strain and at least a second set of pile warp threads under a higher strain. A device for manufacturing such fabrics is described.

A embroidery clamp for thick fabric includes a movable clamping window support that is pivotally connected to a frame and extends around a pivotal axis. An actuating system applies a force to the end of the clamping window support and rotates the support around to pivotal axis to move clamping windows together. The clamping window supports have resilient properties and are configured for flexure.

A two-stage process and apparatus for compacting tubular knitted fabrics, wherein at each stage the fabric, is acted upon by cooperating feeding and retarding rollers spaced apart a distance greater than the thickness of the fabric. Opposite fabric sides thus cannot be in simultaneous contact with the feeding and retarding rollers at the same point along the fabric. Fabric is transferred from a feed roller to a retarding roller while opposite sides of the fabric are closely confined in a compacting zone, free of contact with either roller. Fabric is longitudinally compacted during its traverse of that zone. In the second stage, the rollers are reversely oriented with respect the fabric. Unlike known two-stage procedures, not more than 60% of the compacting effort is imparted in either one of the stages. Preferably each stage imparts about 50% of the compacting effort. Higher production speeds and superior product quality are achieved.

A machine and a method for treating fabrics, comprise in combination a step of inducing substantially vertical vibrations in a quantity of fabric in the form of a substantially compact mass and a simultaneous step of drying the rest of the fabric in opened-out form.

The present invention relates to a method for the continuous production of laid staple fiber fabrics with aligned fiber orientation, in which method the laid fabrics are produced by continuous plaiting down of carded fiber web at defined laying angles onto a synchronized transport belt (1), wherein the carding machine (2) and plaiting means (3) arranged downstream of it are arranged at an acute angle with respect to the advancing direction of the transport belt. Said laid staple fiber fabrics are used for producing high-strength fiber-reinforced plastic composites, as are used in wind power plants, aircraft construction and the automotive industry. In particular in the loading direction, said composites have high composite strengths and rigidities, to which end a defined fiber orientation is required. In addition to a defined orientation of the finite fibers, the laid fabrics also have a defined mass per unit area.

The invention described relates to a polyolefin blend composition suitable for spunbond fiber or filament compositions, and to fabric compositions and composite constructions therefrom, said blend comprising a) from 60-98 wt % of at least one random propylene copolymer having a comonomer content of from 8 to 25 wt % and a crystalline melting point (Tm) as determined by differential scanning calorimetry (DSC) of from about 40° C. to about 110° C.; and b) from 2-40 wt % of at least one substantially isotactic polypropylene homopolymer or copolymer comprising one or more C2 and/or C4-C8 comonomer, having a crystalline melting point (Tm) as determined by DSC greater than or equal to 120° C. The blends of the present invention typically have a melt flow rate (MFR) of from 100 g/10 min to about 500 g/10 min.

Various fabrics, compression garments and compression garment systems are described. Fabrics formed from wicking and absorbent materials provide effective compression and an improved environment next to a wearer's skin, which provides greater comfort and improved overall performance. Two and multi-layer compression garments are described. An outer layer may be formed with an opening having a closure and an elastic material joining the sides of the opening. This provides a first level of compression with the closure open and a second level of compression with the closure closed and also helps a user in applying the garment.

The progressive development of microfabrics from initial deposition to slump deformation and then a submarine slide was investigated in an active subduction zone using cores recovered during the Integrated Ocean Drilling Program Expedition 333. A Pleistocene–Holocene sequence was recovered at Site C0018A, which was located on a slope basin on the footwall of the megasplay fault in the Nankai Trough, SW Japan. Six mass-transport deposit units intercalated with coherent intervals were recovered from the upper 190 m of the drilled succession. The initial microfabrics in the undeformed hemipelagic sediments were characterized by random and porous fabrics composed predominantly of clay aggregations and connectors. The initial fabrics were cardhouse fabrics, which consist of clay flakes with edge-to-edge (E–E) and/or edge-to-face (E–F) contacts. These initial microfabrics developed into compacted microfabrics, which are random and consolidated fabrics (bookhouse fabrics) that consist of clay flakes with E–F and/or face-to-face (F–F) contacts and develop during burial as a pure shear deformation. During slumping, these fabrics were then deformed under simple shear to become predominantly F–F contacts and form clay chains. Thus, the microfabrics in these submarine slides are a sedimentary mélange that developed locally into a preferred clay orientation with F–F contacts.

Supplementary material: A schematic illustration showing sedimentation processes and fabrics is available at https://doi.org/10.6084/m9.figshare.c.4483385

Thematic collection: This article is part of the Polygenetic mélanges collection available at: https://www.lyellcollection.org/cc/polygenetic-melanges

We hear a lot about plastics breaking down at sea, but scientists are discovering that a shocking quantity of plastic enters the ocean already in microscopic form.

When I caught up with Summer Rayne Oakes at a Fashion Delivers event in June, she only briefly mentioned her forthcoming project: Source 4 Style, an online marketing

Influenced by "Scandinavian mysticism and North American charm," these repurposed thrift store finds not only look stylish and comfortable, they also help divert discarded clothing from our landfills.

But can fast fashion ever be green? Fabrics are easier to change than business models.

Using various vintage fabrics, many with a story behind them, this artist portrays ordinary people and historical figures with an artful eye.

It turns out, there are a lot of chemicals that have to be dealt with before fabrics can be reused.

Designer Maria Antonia Godigna spent two years studying the spinning techniques of the Warao and created a line of furniture with Moriche, the palm fiber produced by them.

Novel lightweight electronic sensors can be integrated into flexible fabrics, including the kinds of polyesters often used in athletic wear, to provide

Imports of Knitted Or Crocheted Fabrics in the United Kingdom decreased to 11.53 GBP Million in February from 15.28 GBP Million in January of 2020. Imports of Knitted Or Crocheted Fabrics in the United Kingdom averaged 12.39 GBP Million from 2000 until 2020, reaching an all time high of 21.73 GBP Million in July of 2013 and a record low of 4.32 GBP Million in December of 2007. This page includes a chart with historical data for the United Kingdom Imports of Knitted Or Crocheted Fabrics.

Imports Intra Eu - Woven Fabrics,Tuft Textile, Lace & Tapestries in the United Kingdom decreased to 9.01 GBP Million in February from 9.84 GBP Million in January of 2020. Imports Intra Eu - Woven Fabrics,Tuft Textile, Lac in the United Kingdom averaged 11.25 GBP Million from 1996 until 2020, reaching an all time high of 17.98 GBP Million in November of 2001 and a record low of 4.86 GBP Million in August of 2009. This page includes a chart with historical data for the United Kingdom Imports of Intra EU - Woven Fabrics,tuft Textile,.

Imports of Intra EU - Knitted Or Crocheted Fabrics in the United Kingdom decreased to 3.54 GBP Million in February from 3.73 GBP Million in January of 2020. Imports of Intra EU - Knitted Or Crocheted Fabrics in the United Kingdom averaged 5.91 GBP Million from 1996 until 2020, reaching an all time high of 15.45 GBP Million in October of 1997 and a record low of 2.08 GBP Million in August of 2010. This page includes a chart with historical data for the United Kingdom Imports of Intra EU - Knitted Or Crocheted Fabrics.

Imports Intra Eu - Impregnated, Coated Or Laminated Fabrics in the United Kingdom decreased to 13.53 GBP Million in February from 14.54 GBP Million in January of 2020. Imports Intra Eu - Impregnated, Coated Or Laminate in the United Kingdom averaged 13.98 GBP Million from 1996 until 2020, reaching an all time high of 21.30 GBP Million in July of 1998 and a record low of 7.21 GBP Million in August of 2001. This page includes a chart with historical data for the United Kingdom Imports of Intra EU - Impregnated, Coated Or Lami.

Imports - Woven Fabrics,Tufted Textile, Lace & Tapestries in the United Kingdom decreased to 16.48 GBP Million in February from 23.62 GBP Million in January of 2020. Imports - Woven Fabrics,Tufted Textile, Lace & Tap in the United Kingdom averaged 18.81 GBP Million from 2000 until 2020, reaching an all time high of 27.20 GBP Million in March of 2017 and a record low of 11.68 GBP Million in August of 2009. This page includes a chart with historical data for the United Kingdom Imports of Woven Fabrics,tufted Textile, Lace & T.

Imports - Textile, Yarn, Fabrics Made-Up Articles Nec in Singapore increased to 170.92 SGD Million in March from 142.88 SGD Million in February of 2020. Imports - Textile, Yarn, Fabrics Made-Up Articles in Singapore averaged 104.71 SGD Million from 2014 until 2020, reaching an all time high of 170.92 SGD Million in March of 2020 and a record low of 71.91 SGD Million in February of 2019. This page includes a chart with historical data for Singapore Imports of Textile, Yarn, Fabrics Made-up Article.

Imports of Knitted Or Crocheted Fabrics in Japan increased to 894.83 JPY Million in March from 757.44 JPY Million in February of 2020. Imports of Knitted Or Crocheted Fabrics in Japan averaged 1182.95 JPY Million from 1996 until 2020, reaching an all time high of 3732.45 JPY Million in July of 1997 and a record low of 495.33 JPY Million in February of 2009. This page includes a chart with historical data for Japan Imports of Knitted Or Crocheted Fabrics.

Imports of Woolen & Woven Fabrics in Japan increased to 1094.90 JPY Million in March from 776.02 JPY Million in February of 2020. Imports of Woolen & Woven Fabrics in Japan averaged 2373.60 JPY Million from 1988 until 2020, reaching an all time high of 11215.85 JPY Million in May of 1990 and a record low of 92.91 JPY Million in March of 2014. This page includes a chart with historical data for Japan Imports of Woolen & Woven Fabrics.

Imports - Textile, Yarn, Fabrics & Made Up Articles in Australia increased to 300 AUD Million in March from 272 AUD Million in February of 2020. Imports - Textile, Yarn, Fabrics & Made Up Article in Australia averaged 217.99 AUD Million from 1988 until 2020, reaching an all time high of 382 AUD Million in October of 2019 and a record low of 121 AUD Million in December of 1990. This page includes a chart with historical data for Australia Imports of Textile, Yarn, Fabrics & Made Up Artic.

Imports of - Textile Yarn & Fabrics in Australia increased to 111 AUD Million in March from 104 AUD Million in February of 2020. Imports of - Textile Yarn & Fabrics in Australia averaged 751.28 AUD Million from 1981 until 2020, reaching an all time high of 288731 AUD Million in January of 2015 and a record low of 55 AUD Million in January of 1983. This page includes a chart with historical data for Australia Imports of - Textile Yarn & Fabrics.

Imports - Textile Fabrics Impregnated, Coated, Covered, Etc in Mexico decreased to 44081 USD THO in March from 45299 USD THO in February of 2020. Imports - Textile Fabrics Impregnated, Coated, Cov in Mexico averaged 59806.14 USD THO from 2014 until 2020, reaching an all time high of 76548 USD THO in May of 2015 and a record low of 41210 USD THO in January of 2020. This page includes a chart with historical data for Mexico Imports of Textile Fabrics Impregnated, Coated, C.