Assignment 5 and 6: Dyeing and Discharging colour

Dyeing Fibre

Fabric before dyeing.  Burlap underneath and “silk” scarf.  Flannel cotton and a bunch of carded wool was added into the dye mix since they are all natural fibres.

The brand of dye (purple) and the fixative to help maintain the rich colour.  This is made for natural fibres.

Pot of dye on the left.  Measuring cup of non-iodized salt for the dye bath on right with 1/3 cup of white vinegar for the silk scarf (as per package instructions for silk).

Burlap in process of taking up the dye.  The burlap and all other fabrics were wetted first before putting in the dye to help with uniformity of colouring.  The fabrics were soaked in the dye for about 30 minutes.

Draining the dye out before hanging out on ladder.  The dyed fabrics were then rinsed out with cold water and then put into a bath of warm water with the fixative.  They were then soaked in the water for about 30 minutes.  After this it was amazing; not one bit of dye left the fabric as it was pulled from the bath.  The fabric was then washed in a bucket of cold water, rinsed out with the hose, hung on the ladder until most drippings were finished and then hung on the clothesline.

Hanging the final pieces on the line to dry.  The cotton flannel on the left, the fluff of wool, the burlap next and then the silk scarf on the far right.  The burlap was in the pot put on the stove, folded over, and I believe the circle marks repeated on the burlap is some slight scorching at the bottom of the pot, despite frequent stirring.  Interesting repeated design!  The silk scarf changed colour slightly with some marks of more intense dye where the material had been sitting on top of itself.  It was not silk after all as the dye didn’t take up properly on it.  Thank goodness it wasn’t valuable.  I couldn’t do a burn test on it as it was hemmed so finely and I didn’t want to chop into it.  It will be a nice way to tie up a sleeping bag or wrap a strange present with.

Here, against the interior window, the purple burlap looks very dark and it certainly did take up the dye very well.  I really like the idea of burlap window dressing.  Recently I helped take down the grad decorations of burlap (natural coloured) and I really love the draping quality of it.  This burlap is whitened somewhat and is left over from my experiment glueing it on a wood sided wall in my garden house and then whitewashed.  I really like the texture of it although it was really hard not to have an occasional bubble in the cloth.

Ironing the purple flannel.  I love the quality of the cloth and the new purple colour, is exciting.  I’m imagining a body pillow or a large square one, purple on one side with the orange dye I have on the reverse side with some exciting and royal looking piecework between on the edging.  I was going to dye the other piece of flannel (same size) in the orange but then realized the orange dye is for polyester and synthetics so will save that for another project and purchase some orange dye for the flannel.  I love the complement of purple and orange; they are not directly across from each other on the colour wheel but are close, and the two always makes me think of saris.  My first real dyeing project for years and the first one entirely on my own.

The final project above with the discharge project on the right.  The wool fluff turned a lovely lighter colour of purple and I think the shade is beautiful.  The cotton flannel is exotic and very purple.  It isn’t uniform, as can be seen, but it’s got depth and I’m happy that it’s not solid everywhere.  I’m surprised how dark the purple is and how perfectly both the flannel and the burlap took up the dye, and I guess because of using the fixative, how it seems permanent.  I will certainly be careful whenever I wash it.

Two sources useful on dyeing are:

Adrosko, Rita J.  Natural Dyes and Home Dyeing.  Toronto: Dover Publications, Inc., 1971.  An interesting look at the history of dyeing and a complete compendium of “how to”.  Probably out of print but still sitting on my shelf waiting for bigger projects!

https://www.ritstudio.com/techniques/the-basics/how-to-dye-101/    A great page for beginners on the basic techniques of dyeing.  The whole site has lots of information and interesting projects for the home and fashion.

Curriculum link to FST Textiles 7:

Dyeing projects:  Lismore Sheep Farm is really close to my school and the owner is a school parent.  I would ask her to come to my class and talk about wool, the structure of wool (use my microscope), the natural colours found in her sheep and how her business works.  I would then have her demonstrate a burn test to have students see how the fibres react.  We would then take carded wool puffs and mix up 3 colours of Kool-Aid  in 3 containers at 3 different work stations.  The class would be divided up into 3 groups with a monitor at each station.  The students would dye their puff of wool (tying a piece of synthetic yarn around theirs to identify it.  The students would move from station to station dyeing their wool.  The class would note on the board the reactions they noted at each station.  I would be interested in moving to secondary colours by mixing to create more colours.  (A nice review of primary and secondary colours).  I would also have them note how the synthetic yarn did not take up the dye.  We would end the session by the guest showing the class the colours that she achieves in her work and some of the products that she makes from the wools (blankets, scarves, mittens, felted wool wall hangings, etc.).

Discharging Colour project

For discharging colour I wanted to use a cellulose-based fibre and found some linen in my tickle trunk.  I cut it into squares thinking I might make unique napkins for the table with the results.  I decided to keep the project simple and just see what designing a very basic pattern on it using bleach would turn out like.

I lined up the bleach, a yogurt dish cover, some slices of apple and the cloth outside.

I first decided to use a fern leaf to get a delicate pattern.  This wasn’t very successful.  It was hard to judge how much to lay the fern in the bleach, how much to press it onto the cloth and I started having either much to delicate to see or too thick and blobby shape.  It is amazing how quickly bleach works on fabric and the colour is instant.  I was surprised how orange it looked- right away.  So then I used the piece of apple- stamping the star of the core with various amounts of pressure and soaking level of bleach.  I got some big globby rounds of bleached sections but then worked with thinner pieces of apples to have some delicate lines.  I started to see possible shapes in the fabric and wished I had been more creative before I started and doing an Aboriginal design or Hopi or something else.  But it is what it is .

In the photo above you can see the rinsed out cloth with the bleach design next to the dyed flannel, drying on the clothesline.  Strange birds, mushroom things, etc.  

And finally the finished product, nicely ironed.  I think I might embellish it, hem it and try it out as a napkin.  Good also to wrap some fresh home-made tortillas in it for the table.  I think it turned out okay but I would be much more careful with the design and then experiment with pressure and amount of bleach on another piece of fabric.

Two sources of information on colour discharge are:

http://www.dharmatrading.com/techniques/discharging.html  (a really interesting site for working with various agents and fibres; not designed for students in middle schools but an excellent source of information for the teacher).

http://www.jacquardproducts.com/dischargepaste.html  (this is the company website for the dye and fixative that I used for my project.  They have a wealth of information on here about various agents.  The paste mentioned on the opening page is for natural fabrics but there are many products in their line.)

I would also have students research some of the textile industries in Bangladesh where pollution from textile dyeing and discharging are ruining the environment.  I think this would be a good link to social justice and sustainability in the FST curriculum.

Assignment 7: Basic Sewing

 

 

Sewing Project:  Chair pad for a tufted leather chair.  Requirements:  Fabric must be tough, easy to care for, affordable and easy to replace.  The fabric is a lined denim and navy piping was chosen as a simple embellishment that mirrors the lines of the fabric and  is suitable for the simple design.  I wanted a pad that appears like a finely made linen but is homespun at the same time.

In the photo above the fabric had been washed and dried two times to allow for shrinkage and  is laid out here for sizing.  This step was vital as the seams did not match up with the lines being straight.  Therefore, I had to forget about the seams matching and line up the lines instead.  At the end of the project the seams were straight and vertical and it is because of this first step.  After the fabric was sized, the measurements for the chair pad were transferred on to the cloth and the cloth was cut accordingly.  The fabric was then pinned, with the piping inserted into the seam, allowing for a 5/8″ seam allowance.

The pinned fabric was then brought to the sewing machine and I used a tough cotton thread to match the denim material.  I checked the first seam after basting the first six inches and found that the seam allowance did not put the piping exactly at the seam edge (finished edge) so I removed the stitches and lined up the cloth in the machine allowing roughly a 3/8″ seam but really just feeling the ridge of the piping as I stitched down the seam.  This was done during a practice session of piano and fiddle and I found the machine humming along to jigs and reels.  

Here, in the photo above the viewer can see the seam stitching to the left of the basted outer seam finish.  I decided to just give a longer, almost basting stitch based on the stiff cotton denim and limited usage of the final product.  It was quick and easy.  On one seam I decided to leave it unfinished and ironed both edges and piping ribbon open (just for the “halibut”).

 

 

 

To turn the chair pad right side out I left about 8 inches of the seam open so I could flip it all out through the hole, which I’m doing in the photo above.

Ironing one of the seams  (oops- this was done before I turned it all rightside out as seen above.  (But this proves I did heat up my iron- the orange button is definitely lit- oh this Modern World where irons gather dust!)

Hand sewing the open 8 inches of the seam to seal up the chair pad!

The finished project.  Piping did exactly what I wanted it to do and, despite my “feeling my way along as I sewed the piping, the edges are mostly perfect.  No-one else would notice except my grandmother.  She, and anyone else would notice my corners- which I was hoping would be perfectly 90 degree sharp, but that didn’t happen.  I remember thinking, wow, I can just continue stitching AROUND the corner (jigs and reels in the air) and I also tried a coming to a corner and lifting the foot and starting down the other seam.  In retrospect, I should have done straight solid seams all the way to the end of each seam, especially to fasten down the raw edges of piping.  However, after a little poking and darning of the corners, they turned out to be quite satisfactory and certainly carry my own seal of doing the project.

Two neat sites for learning more about basic sewing, using patterns and has lots of inspiring projects- who else but Martha Stewart!

http://www.marthastewart.com/274690/easy-sewing-projects-for-beginners/@center/326405/how-to-sew#375157

and this one, from how to sew dot com (great basic teaching of how to use a pattern for kids)

http://howtosew.com/blog/sewing-basics/pin-and-cut-pattern

 

Curriculum Link to FST 7 

I think it is really important for every child to understand a concept (like using a pattern) by relating to themselves.  For this first lesson I would have students take turns helping each other to trace their hand on to paper.  The would then use this pattern to sew their hand as a “glove”.  This could be a hard item to sew and turn because their fingers are small (generally) so I would explicitly ask for only the thumb to be free of the rest of the fingers.  They then come to understand how the “inside” needs to be turned out, and the importance of measuring for seam allowance.  Any too tight fingers certainly would teach a person what happens if you don’t allow for seams.  A great hand for posterity or for adding to a possible future project of a puppet or class quilt of happy hands.

 

 

Assignment 1 Colour Theory

 

Colour Theory

 

The Green shirt above is using the secondary colour (green) with the primary colour of yellow as the background to the logo of the Hurley company.  The yellow draws the eye to the brand name.  Green is midway between the primary colours of yellow and blue, making these an analogous harmony.  The eye travels back and forth between the yellow and green but keep returning to the black brand name.  I think this combination of colours work well because they are very youthful, fun and particularly great for boys.

 

 

The ski outfit worn by my son, above, is made up of two colours, a vivid blue, which is a primary colour, and a soft grey colour, which is actually achromatic, meaning without colour.  Both the blue and the grey have the same value and work together very well.  The blue, especially, works well in snow as it stands out against dark forests, grey winter days and against the various shades that snow can take on in changing light.  I also really like it because it is a happy blue and evokes energy and nature.  The grey understates the blue a little so it appears a little more classic and not so subject to the changing fashion whims of the ski industry.

 

 

The Indian-inspired skirt above uses three colours:  blue, brown and a soft beige.  The stitching uses brown coloured threads with sequins to jazz up the soft values of the colours.    Blue is a complement of red, and the brown here would be an analogous color to red.  This means that the eye travels back and forth between the blue and the brown, and both colours would be strengthened by each other.  The use of beige, being analogous to brown, softens the effect of the blue against the brown.  I really like the way that the colours work in this skirt and I think the brown stitching draws the eye to this section of the skirt to notice the interesting colour combination and the elaborate embellishment.  The difficult part is finding the right blouse to work with this skirt as it must be fairly plain and pick up on one of the colours of the skirt.

 

My sister, the quilter, made this table cloth for me (knowing I love pears) and here we see two complementary colours at work.  Orange and green are opposite each other on the colour wheel; this makes the pears more vibrant and the green richer in the play of colour against each other.  What calms this vibrancy down are the values of the orange and the green.  Both are more muted and are incorporated with various shades of analogous colour.  This means that the green is not just one shade but are actually about three shades; the same is true of the pears.  The beige pears pick up the lighter tones in both the orane and the green to mute the design further.  The pear stems of brown make a nice punch of colour, helping to identify the fruit as being pears.  As a seasonal background to a table setting, I really appreciate the softer tones of these colours.

 

The shirt worn by my partner, above, is made up of a number of colours but the main energy uses the primary colours of red and blue.  I love how fresh and clean this shirt looks and I believe it is because of the primary colours used.  The eye sees the blue and red richer because of them being complements of each other.  To create more energy, the bands of primary yellow is used to carry the eye over the pattern of stripes.  I really like how all three primary colours work in this shirt but also how they are mitigated by the softer values repeated in the smaller bands of the primary colours.  It is one of my favourite shirts and my little grand-niece thinks so too.

Two sources of learning more about colour theory are:
http://www.sensationalcolor.com  (lots on here about colour and choosing for home and fashion).

Color and Composition for the Creative Quilter.  Masopust, Katie Pasquini and Brett Barker. Lafayette, California: C& T Publishing, Inc., 2005.

Class activity for colour theory (FST Textiles-7):

After discussing colour as a class, have students look at paint chips from the hardware store.  Small groups discuss the appropriateness of the names paint companies give to their colours.  Have a sheet of grey felt as a backboard for students to create their own colour wheels on.  From a large pile of solid fabric pieces, have students place the three primaries first on their felt, making sure they leave room for a total of 12 pieces of fabric in a wheel.  Students then find and place the secondary colours, and then the tertiary colours.  An option at this point would be to work in the the tints of the primaries and secondaries on the inside of the wheel and the shades of the primaries on the outside of the wheel.

Students can then hand-sew these on to the felt so that they can refer to their wheel for future projects.

Assignment 1: Elements of Design

1.  Five Examples of LINE in textile design

Line: vertical/ horizontal

The use of line in this jacket from Rajasthan (northwest India) is a dominant visual feature.  Each of the three panels (jacket, patch, and collar) is stitched with continuous lines of thread.  These details  add a depth to each of these panels and draw the eye to the hand workmanship of stitching and to the overall design.  The stitching also adds a weight to the textile, which helps it function as a heavier-weighted garment, much like quilting adds to the structural weight of pieced cotton quilts.  Because of the detailed stitched lines of thread, the textile is perfect for a jacket that holds its shape and feels warmer to wear.  The use of the natural shapes of leaves acts as an organic counterpoint to the otherwise symmetrical and asymmetrical patterning of stitched lines.  Wearing a jacket like this is akin to wearing a piece of art, therefore the rest of the outfit should be downplayed to avoid any distraction from the elaborate design of this singular piece.  [Jacket in author’s collection].

Line: Horizontal;                                                                Line: Corduroy quadrants; Radiating triangles

The horizontal lines of contrasting rickrack and ribbon banding on this skirt work to add interest.  This textile is very appropriate for this skirt as it is a tough and very durable cotton fabric and the embellishment of the banding evokes a nostalgia for an earlier time when it was common for people to decorate their garments.  The lines of banding themselves give interest in their varied widths, colours and textures, yet all still in the muted tones of the period.  Here, in this skirt, the advantage is to add interest to the embellishment of an otherwise plain skirt and is best illustrated by dancing in it, perhaps at a summer picnic or a barn dance.  Choosing a top to complete the ensemble is done best by wearing a top in one of the colours in the banding with an optional belting in one of the other colours.  Choosing other types of lines (curved or jagged) for a top or hosiery would be a distraction from the muted embellishment of the skirt.

The use of colourful corduroy panels and use of ribbon and banding give a fun and youthful energy to this bag for kicking stones.  It was quite common in years past to find kicking stones on paths and roadways that, after kicking along for the mile walk to the swimming hole or to the neighbouring farm, a person becomes attached to.  What better way to collect these stones for a child then to have their own bag that is easily carried or easily hung on a peg for the next happy walk.  The choice of corduroy is a sturdy material and children love to touch the fabric.  The colourful lines of banding and panels and the special details of gold ribbon make this a keepsake.  The ladybug pin is an example of a fun embellishment.  Because the lines of banding separate the panels, the substitution of flowered or printed fabrics in lieu of the solid corduroy would not be a problem as long as the colours chosen work with the new piece.

The radiating triangles of the child’s Tibetan hat are perfect for little ones to wear.  The deep red triangles of printed velvet contrast to the  negative space suggested by the black velvet triangles.  Because these hats are usually worn by children, they also have delightful interest for adults as they can easily see the radiating triangles from above.  The side panel has a metallic embroidered banding which uses line effectively in drawing interest to the unique hat design.  Obviously, radiating triangles would not a satisfactory choice to the front panel of an dress or top, especially to someone who is heavier.  Generally we want to draw the eye to the positives and away from what we may see as the “in process” aspect of ourselves.

Line: Curvilinear:  The lines in this dress give interest to a garment that is fairly boxy in shape.  The lines are curving and in some areas jagged.  There are some minor embellishment of jewels in the right top part of the dress that mirror the colours in the rest of the garment.  This textile is perfect for a summer dress that is colourful, youthful and adaptable to afternoon or evening events.  The use of curving or jagged lines in this dress are not overwhelming, but they could be if chosen in larger line patterns and colours that are are more jarring with each other.  That kind of textile could look great if worn by a thinner person but could be too attention-grabbing for someone who “has more to hide”.

 

 

 

 

 

Line- vertical

The long thin lines of this denim fabric are a good design choice for this chair cushion.  Preparing the fabric for cutting and sewing is imperative to make sure that the lines are straight on the bias, otherwise the lines will look twisted, even though the seams may match up.  This sizing of the fabric is even more important if piping is chosen to add interest to the seams.  There is no point in adding interest to embellishment if the area is not visually precise.  The choice in this fabric stems from an interest in French linens, especially that evoke the  countryside and the ticking fabrics of times past.  Adding the precise navy line of piping gives the textile a more sophisticated touch; hopefully no-one will confuse it with a train conductor’s overalls!

[All photos above from the author’s collection].

2.  Five examples of PATTERN in textile design

 

These dirt bike gloves belong to my son and show interesting pattern choices by the manufacturer.  Firstly, my son loves green and he really likes the bold pattern of the green spandex and the slits of green on each of the fingers.  The green is used again on the cuff in the choice of green line gradients as well as the rays of green that radiate out from the brand name.  Lime green works well with black and the patterns of black and green give a feeling of energy, excitement and forward-thinking design.  A perfect choice of pattern for a teenager to encourage wearing safety gear while doing a fairly dangerous sport.  As a mother who is often faced with the one sock or one glove dilemma, having them made out of bright solid orange might have been a better design choice, but a teenager would probably not agree.

The repeating flower pattern of this black lace blouse (seen here held in front of a window) is a perfect choice for a more formal occasion.  The lace is delicate and feminine as are the tendrils of flower stems and petals.  Seen against the skin, the fabric suggests a certain erotic quality but is downplayed by revealing only the arms and decollete.  The blouse, if worn with more revealing undergarments or nothing underneath, would appear inappropriate for wearing in public, but are lovely if worn for private occasion.

 

 

 

The jacket from Rajasthan here surfaces as a clever use of pattern.  The patterns of framing the neckline, front, bottom hem and pockets in black linear fabric is effective for overall framing of the artwork found on the body of the garment itself.  The  panels of pieced traditional fabric designs are imperfectly mirrored to produce uniformity in colour and sizing but difference in placement.  This keeps the overall design more interesting with a nod to modern geometrical arrangement.  The black details as well as the continuous hand stitching over every piece of fabric help pull the various features together.  These elements create a distinctive garment.  Without the black details pulling it together, I think the overall result would be akin to wearing a favourite old crazy quilt.  I love the precision of the black and the punctuation of the wooden togs that keep the jacket smart looking.  For the days when a person might not be quite so brave in colour and design or have another garment to work with, the jacket is reversible, revealing the pure blue fabric with only the details of stitching as embellishment.  Definitely a happy-day jacket!

 

The black and white houndstooth pattern on the left is a great go-to jumper for winter and looks great with a black turtleneck with a splash of bright red or yellow in an accessory.  The repeating pattern is small-scale, simple, yet of visual interest.  Large patterns of this pattern are best used for a tailored jacket or hat but tend to be too much, visually, for a dress.  A person shouldn’t dress as an optical illusion.  Or should they?

The teal and gold repeating pattern of this picnic basket liner/ placemat is made of quilting cotton.  It’s almost a honeycomb pattern and is a happy, youthful mod addition to a table setting.  I use this for my teenage son who has absolved himself from younger settings of flowers and lace.  Boys also tend to gravitate to geometrical designs and offer a more abstract yet “engineered” look.  I can’t imagine a blouse made from this fabric but I could almost imagine a very fitted boxy 1950’s wool dress with a gold pillbox hat.  Cat frames anyone?  Definitely white ones would be de rigueur.

3.  Five examples of TEXTURE in textile design

While this Italian farm dress is more noticeable for its pattern, I chose to include it here for texture.  I have worn this dress for years so have no idea what the fabric is but it must have some polyester in it (I think) as it feels slippery, cool, almost a seersucker but not, and it dries quickly.  A perfect dress for pairing with a light camisole or tank top under the straps and wearing around the gardens, throwing over the bathing suit or going for walks on the country roads.  The long length tends to confuse the black flies and mosquitoes.  A great fabric and texture for hot summer days.

The texture of wool and cotton can not be beat for floor coverings, especially in the colder months.  The thicker the weave the better to allow more protection from drafts and wear.  The texture feels wonderful to the feet and knowing that the fibres are natural bring an added pleasure.  I regard those delightful-feeling cuddle blankets of acrylic for babies with suspicion.  I’m sure I’ve heard of the fibres from those fabrics being breathed into tiny lungs.  The long-term appreciation for the textures of wool and cotton should be encouraged for young people despite their perception that wool is always itchy and both considered outdated and difficult to care for.  The small wool carpet on the left is woven very tightly and therefore has a hard texture when used for carpeting.  The horse blanket of cotton on the right has a much softer texture as the weave is a little looser, the cotton threads thicker and because of its size (3 feet by 6 feet), it can be washed easily in the washing machine.  This makes the texture even softer as time goes on.

The hammock that my young grand-nephew is enjoying is made of nylon cotton.  The benefit of this material is that is softer than pure nylon but is longer lasting than a hammock made of just cotton.  It is also cheaper.  Texture is important when you are laying in a hammock as you tend to be wearing shorts and lighter clothing so the feel against your skin is very important.  This is even more important for children who have more delicate skin than the more seasoned among us.  Traditionally hammocks made in Mexico came from the Yucatan peninsula and families were famous for their centuries-old traditions of weaving them.  The best were always made from the best cotton and the nylon ones made by others for the tourist markets.  These traditional ones also came in the “matrimonial” size and was the bed for newlyweds.  The best cotton and the best weaves for soft texture yet great and long-standing strength were crucial.  La basura, or the cheap ones, have changed this favoured bed of the tropics

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The baby blanket.  Who doesn’t respond well to the soft feel of well-washed cotton in a baby blanket.  These are soft to the skin, easily cared for and the texture can be improved upon by higher thread counts, organic cotton or the blending of silks or bamboos into the weaves.  These textures often take longer to dry than the synthetics but hanging them in the sun (or as Maritimers do- hanging them until they’re frozen sheets in winter) bring a softness to the fibres and a freshness to the cloth that delights our noses for the rest of our lives.

Two sources of interest that could be used for further instruction on the elements of design:
Utah State University Extension Services have a great site for learning about design:

Click to access FC_Clothing&Textiles_2012-05pr.pdf

Color and Composition for the Creative Quilter. Masopust, Katie Pasquini and Brett Barker. Lafayette, California: C & T Publishing, 2005.

Activity for FST-7 Textiles:
A.
Have students collect various samples of textures of textiles, make a list of these,
put samples into paper bags with the list hidden and separate. Have students take turns
with each other to identify how each sample feels (make a list of possibilities so students have the language) and try to identify what the textile might be.
B.
Have a local quilter come for a visit and students use their templates of composition that they make to use with fabric swatches to organize the fabrics in terms of their patterns. (The quilting book above uses a nine-patch of compositions template for the various patterns: vertical, horizontal, circular, diagonal, radiating, grid, framed/border, symmetrical and asymmetrical). Students would have lots of fun and the opportunity to problem-solve as they discuss and sort for pattern.

Assignment 4: Textile Structures

Textile Structures

There are four types of textile structure:

Woven, Knitted, Felted and Pressed/ Rolled.

Please see following photos I took of items around my home that showcase these four structures.

Handmade knitted wool scarf

Woven wool mat and woven cotton horse blanket

Pressed synthetic fabric shopping bag

Felted wool hat of a Leprechaun

Knitted textiles: The knitted structure has a long history of use and much of what we find in our homes and wardrobes use this structure.  For items like outdoor clothing, knitted wear is easy to make, offers stretch, is easily folded and wrapped, and, because of its “3-D” structure of looping yarns, acts as an insulated barrier between the body and the weather. Knitted textiles are ideal for scarves, mittens, toques, sweaters and infant wear.  Choosing which textile to knit will affect how comfortable and how easy the garment will be to clean and store.  While the knitted structure does provide some measure of insulation, it does not provide much of a barrier to rain. Textiles knitted of acrylics get wet quickly and do not offer any protection.  The same is generally true of cotton and wool, although if wool still contains an ample amount of lanolin from the sheep, it is amazing how warm and dry a person can be who may use a wool sweater for working in the rain.  A case in point are the famous Cowichan Sweaters of the west coast which use a thick knitted wool yarn and a fairly loose structure, which seems to almost felt with use and is still popular as a “working garment” amongst First Nations and the general public.

Woven structures:  I am guessing that the woven structure of textiles have the longest use in history and can be found everywhere in the world and in all manner of applications.  The weaving of yarns in a warp and weft pattern can be done on the simplest to the most complex of frames and machines.  The choosing of which textile fibres to weave will affect how easy the item will be to clean, how durable it will be, how insulative, and how flexible the final product will be.  The weaving of fibres into mats and carpets offer a softer and warmer floor covering as well as protection of underlying surfaces.  Finely designed and hand-dyed natural fibres woven into carpets capture the highest prices and will last years with proper care.  Because of its open weave, it can allow dirt from shoes to filter through which will cause wear as the abrasive sand and dirt particles wear away the strands.  It is recommended to not place carpets immediately at the threshold of a doorway, if the carpet is valuable.

Pressed structures:  Pressed structures are relatively new and are made by pressing or rolling synthetic fibres into a durable, strong, cheap and versatile textiles.  Re-usable pressed synthetic shopping bags are ubiquitous now and offer a handy bag for only 99 cents.  While they are not waterproof, they do offer weather-resistant fabrics for multiple purposes.  While many people are experimenting with up-cycling existing items, using this fabric for small items like change purses would not work as well as the fabric does not bend very well and is more suited to larger items where holding shape is more desired.

Felted structures:  Felted structures are wonderful for using in a variety of ways.  Felting inside of winter mitts make mittens warm no matter how cold Canada may get.  Felting adds more depth to the fibres and increases the insulative capacities much more than having a fabric of knitted or woven structures.  The yurts of Mongolia were made of felted wool and kept the people who used them warm inside their wind-proof homes.  Felted wall and roof panels were ideal in a dry windy climate with little rain or insects and where mobility was essential.  This style of housing has become more popular on the west coast but the felted wool would not work there at all; weatherized woven cotton has become the fabric of choice in the temperate rainforest climate!

Two useful sources (on-line) for understanding textile structures are as following:

1.  The Fashion and Textile Museum of London has an exhibition on of the Mexican rebozo (shawl).  I have a number of these that I bought in Mexico over many years and it used to be that a woman could be identified by which village she came from by the colour and pattern of her rebozo.  I have visited this museum in the past and it has an amazing collection of textiles from all periods of history and from all over the world.

http://ftmlondon.org/ftm-exhibitions/made-in-mexico-the-rebozo-in-art-culture-fashion/

2.  Kaffe Fassett Biography and Website.  This site offers a comprehensive look at one of the world’s top designers in textiles, and the possibilities that fabric and colour offer to the imagination.

http://www.kaffefassett.com/Biography.html

Teaching Lesson:  FST Grade 7

I would bring my collection of rebozos to my class and talk about their patterns, their multitudinous uses, and the changing in fibres as Mexico modernizes.  Students could then research their own choice of ethnic shawl, including that of a great grandmother, and identify patterns, colours and specific usage.  We would be sure to talk about embellishments!

http://www.kaffefassett.com/Biography.html

 

Assignment 3: Fibres

5 Samples of different fibres:

1.  Christmas fabric:  I believe this is a polyester cotton but I hope that it is pure cotton.

2.  Red felt:  I believe that this is fake felt (polyester) as it doesn’t feel “right” in the hand, especially after examining the felts at Gasperaux Fibres.

3.  Blue flannel:  I believe this is pure cotton as I used this fabric on my son’s duvet cover when he was a little boy.  Peter Rabbit Blue I called it at the time.  It made a heavy duvet but it had a nice weight for an unheated bedroom in the winter time over the down duvet.

4.  Magenta fabric:  I think this is a slightly raw silk/ nubbed silk.  I really forget where it came from but I’m hoping it is pure silk as I’m imagining what I can do now that the sewing machine is set up.

5.  Spandex:  I bought this fabric this spring to repair a very expensive and well-loved piece of lingerie.  Something I’ve never done before but my sewing friend recommended it.  It worked although it was hard to hide the repair totally.  Not sure what spandex is or how it will burn.

Burn Test

 

Burn Test

1.  Christmas fabric:  Turns out that this fabric is indeed cotton.  It ignited and burned quickly, left a glowing ember on the end burned-over part, the smoke was light coloured and smells like burning paper.  The ash was very soft and light gray and blew away quickly in the breeze.  I thought, if it was a combination cotton/polyester that the ash would be harder and form a ridge along the edge of the cloth which would point to the presence of polyester but it didn’t.

I would use this fabric to make a homemade Christmas stocking for my son, and use similar cotton as contrast, to add some holiday cheer.  In terms of care, I would wash and try to shrink it so that it will keep its precise shape, especially because I will want to line it.  Because I will be adding other fabrics, I will plan on hanging it to dry instead of using the dryer, even though, if the fabric is pre-washed, it shouldn’t matter.  Heirlooms to pass down should be treated a little more carefully.  Cotton irons well and I’ll have to be carefully of any embellishments so that all will react the same to the use of an iron.  Of course, if I store the stocking carefully it shouldn’t need to be ironed ever again!  Any possible staining of the cotton is quite easily dealt with by washing with cold water and some stain remover (after testing on a scrap piece) and hanging in the sun.

2. Red felt:  Just as I thought, this fabric is totally man-made.  It ignited very quickly, and burned fast.  As it burned, it also seemed to shrink as it melted (more than burned).  The smoke was black and had a strong acrid chemical smell.  It is definitely synthetic and based on the acrid smell, I’m assuming that it must be acrylic.  The ash had formed a strong hard bead that was hard to remove from the rest of the fabric swatch which is typical of synthetic materials.

As far as using this fabric for anything to do with children’s toys, Christmas decorations or decorations in a bedroom, I would not use this fabric.  Toxic fumes, melting “plastic”, and black smoke should not be near a child.  I may use it for covering the bottom of chairs so they don’t scratch wooden floors but I doubt it.  I prefer natural materials, especially after seeing how they behave in a burn test.  Washing and drying it should be done by hand laying it flat and stretching it slightly to help it retain its shape.  When I used the iron, I could tell immediately that if I wasn’t quick it would melt to the bottom of my iron so using an iron on a very low setting would be the only safe way to care for it.  If it ever got a stain, I would throw it out.  Synthetic felt is not worth the bother.

3.  Blue Flannel:  I’m glad that this turned out to be pure cotton flannel.  In conducting the burn test, it smoldered slowly and had a strong wood smell.  It ignited quickly with glowing embers in the burned-out area.  The ash was light coloured and blew away very quickly.

I would be careful with this fabric around children.  I love flannel around babies and children (and myself) for pajamas and cozy throws but also remember back in my Massachusetts days when it was banned from being used.  I did use this flannel for the duvet cover and other flannels for homemade diapers.  When preparing for projects you really have to be careful to pre-shrink it and also make sure it is cut straight so that the project will hang properly.  Staining can be taken care of usually by using stain remover, cold water, my Mexican soap (lye based) and hanging in the sun.  I only use a dryer with flannel after its been washed and dried on the line a number of times as it seems to take awhile to settle into a permanent shape.  It is easily ironed and stored, which is one reason flannel continues to be so popular.

4.  Magenta Silk:  This did turn out to be silk.  It was so easy to tell from the burn test.  It was very slow to ignite, burned reluctantly, and smelled just like burning hair.  The ash was very brittle, dark, and easily crumbled away.  Definitely not a synthetic by the ash and burning characteristics.

I would use this fabric as part of a Christmas stocking, small jewelry bags, or what I really want: a silk pillow case.  Silk fibres are very smooth and do not “tear up” the hair like cotton does and is recommended by hair stylists to keep your hair healthy looking.  Although silk is often recommended to be dry-cleaned, I have washed silk garments many times by hand, in cold water, agitating slightly with my hands, using a gentle soap, handling it very gently, never wringing it out or twisting it but letting the water “fall out” and then drying it flat until it is light enough to hand on the clothesline in the shade.  In caring for it, it should be ironed very lightly and quickly on a low setting (I try to do it on the inside to avoid any possible sheening of the fabric).

5.  Spandex:  What interesting fabric to feel and to try to burn!  It ignited very slowly but then melted more than burned.  As it continued to melt, drops quickly fell away from the fabric, which is certainly dangerous.  The ash was very hard and formed a bead that became part of the fabric.  The smell of the burning had a slightly sweet smell, but definitely a chemical toxic smell, which makes me believe that it must be mostly a type of polyester.

It washes and dries perfectly and never needs to be ironed, which is probably why it is used so much in athletic clothing and socks.  I used it to repair a piece of lingerie and it works well.  I don’t believe that I would use it for anything else; it’s a slippery, specific-use fabric which would make it hard to work with.

Internet sites to assist:

1.  Clothing labels and care of fabric for cleaning:

http://www.ic.gc.ca/eic/site/oca-bc.nsf/eng/ca02009.html

2.  Excellent site about identification and qualities of fibres including the “Family Tree” of fibres.

Click to access FA110_Ch02.pdf

 

Lesson for Family Studies 7

Have students bring one garment and identify the country of origin, the type of fabric it is made of, view the properties of various fibres on the “family tree”, use a microsope to examine the individual fibres and then create a report of what they found out (which includes the type of fabric, the qualities of the fibre, the suitability of the fabric for the garment, the care of the fabric with a picture of the fibre (hand-drawn or from on-line).

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