#Draping Methods in Fashion Designing

[eyrieofsynapses]

why Aurora's art is genius

It's break for me, and I've been meaning to sit down and read the Aurora webcomic (https://comicaurora.com/, @comicaurora on Tumblr) for quite a bit. So I did that over the last few days.

And… y'know. I can't actually say "I should've read this earlier," because otherwise I would've been up at 2:30-3am when I had responsibilities in the morning and I couldn't have properly enjoyed it, but. Holy shit guys THIS COMIC.

I intended to just do a generalized "hello this is all the things I love about this story," and I wrote a paragraph or two about art style. …and then another. And another. And I realized I needed to actually reference things so I would stop being too vague. I was reading the comic on my tablet or phone, because I wanted to stay curled up in my chair, but I type at a big monitor and so I saw more details… aaaaaand it turned into its own giant-ass post.

SO. Enjoy a few thousand words of me nerding out about this insanely cool art style and how fucking gorgeous this comic is? (There are screenshots, I promise it isn't just a wall of text.) In my defense, I just spent two semesters in graphic design classes focusing on the Adobe Suite, so… I get to be a nerd about pretty things…???

All positive feedback btw! No downers here. <3

---

I cannot emphasize enough how much I love the beautiful, simple stylistic method of drawing characters and figures. It is absolutely stunning and effortless and utterly graceful—it is so hard to capture the sheer beauty and fluidity of the human form in such a fashion. Even a simple outline of a character feels dynamic! It's gorgeous!

Though I do have a love-hate relationship with this, because my artistic side looks at that lovely simplicity, goes "I CAN DO THAT!" and then I sit down and go to the paper and realize that no, in fact, I cannot do that yet, because that simplicity is born of a hell of a lot of practice and understanding of bodies and actually is really hard to do. It's a very developed style that only looks simple because the artist knows what they're doing. The human body is hard to pull off, and this comic does so beautifully and makes it look effortless.

Also: line weight line weight line weight. It's especially important in simplified shapes and figures like this, and hoo boy is it used excellently. It's especially apparent the newer the pages get—I love watching that improvement over time—but with simpler figures and lines, you get nice light lines to emphasize both smaller details, like in the draping of clothing and the curls of hair—which, hello, yes—and thicker lines to emphasize bigger and more important details and silhouettes. It's the sort of thing that's essential to most illustrations, but I wanted to make a note of it because it's so vital to this art style.

THE USE OF LAYER BLENDING MODES OH MY GODS. (...uhhh, apologies to the people who don't know what that means, it's a digital art program thing? This article explains it for beginners.)

Bear with me, I just finished my second Photoshop course, I spent months and months working on projects with this shit so I see the genius use of Screen and/or its siblings (of which there are many—if I say "Screen" here, assume I mean the entire umbrella of Screen blending modes and possibly Overlay) and go nuts, but seriously it's so clever and also fucking gorgeous:

Firstly: the use of screened-on sound effect words over an action? A "CRACK" written over a branch and then put on Screen in glowy green so that it's subtle enough that it doesn't disrupt the visual flow, but still sticks out enough to make itself heard? Little "scritches" that are transparent where they're laid on without outlines to emphasize the sound without disrupting the underlying image? FUCK YES. I haven't seen this done literally anywhere else—granted, I haven't read a massive amount of comics, but I've read enough—and it is so clever and I adore it. Examples:

Secondly: The beautiful lighting effects. The curling leaves, all the magic, the various glowing eyes, the fog, the way it's all so vividly colored but doesn't burn your eyeballs out—a balance that's way harder to achieve than you'd think—and the soft glows around them, eeeee it's so pretty so pretty SO PRETTY. Not sure if some of these are Outer/Inner Glow/Shadow layer effects or if it's entirely hand-drawn, but major kudos either way; I can see the beautiful use of blending modes and I SALUTE YOUR GENIUS.

I keep looking at some of this stuff and go "is that a layer effect or is it done by hand?" Because you can make some similar things with the Satin layer effect in Photoshop (I don't know if other programs have this? I'm gonna have to find out since I won't have access to PS for much longer ;-;) that resembles some of the swirly inner bits on some of the lit effects, but I'm not sure if it is that or not. Or you could mask over textures? There's... many ways to do it.

If done by hand: oh my gods the patience, how. If done with layer effects: really clever work that knows how to stop said effects from looking wonky, because ugh those things get temperamental. If done with a layer of texture that's been masked over: very, very good masking work. No matter the method, pretty shimmers and swirly bits inside the bigger pretty swirls!

Next: The way color contrast is used! I will never be over the glowy green-on-black Primordial Life vibes when Alinua gets dropped into that… unconscious space?? with Life, for example, and the sharp contrast of vines and crack and branches and leaves against pitch black is just visually stunning. The way the roots sink into the ground and the three-dimensional sensation of it is particularly badass here:

Friggin. How does this imply depth like that. HOW. IT'S SO FREAKING COOL.

A huge point here is also color language and use! Everybody has their own particular shade, generally matching their eyes, magic, and personality, and I adore how this is used to make it clear who's talking or who's doing an action. That was especially apparent to me with Dainix and Falst in the caves—their colors are both fairly warm, but quite distinct, and I love how this clarifies who's doing what in panels with a lot of action from both of them. There is a particular bit that stuck out to me, so I dug up the panels (see this page and the following one https://comicaurora.com/aurora/1-20-30/):

(Gods it looks even prettier now that I put it against a plain background. Also, appreciation to Falst for managing a bridal-carry midair, damn.)

The way that their colors MERGE here! And the immense attention to detail in doing so—Dainix is higher up than Falst is in the first panel, so Dainix's orange fades into Falst's orange at the base. The next panel has gold up top and orange on bottom; we can't really tell in that panel where each of them are, but that's carried over to the next panel—

—where we now see that Falst's position is raised above Dainix's due to the way he's carrying him. (Points for continuity!) And, of course, we see the little "huffs" flowing from orange to yellow over their heads (where Dainix's head is higher than Falst's) to merge the sound of their breathing, which is absurdly clever because it emphasizes to the viewer how we hear two sets of huffing overlaying each other, not one. Absolutely brilliant.

(A few other notes of appreciation to that panel: beautiful glows around them, the sparks, the jagged silhouette of the spider legs, the lovely colors that have no right to make the area around a spider corpse that pretty, the excellent texturing on the cave walls plus perspective, the way Falst's movements imply Dainix's hefty weight, the natural posing of the characters, their on-point expressions that convey exactly how fuckin terrifying everything is right now, the slight glows to their eyes, and also they're just handsome boys <3)

Next up: Rain!!!! So well done! It's subtle enough that it never ever disrupts the impact of the focal point, but evident enough you can tell! And more importantly: THE MIST OFF THE CHARACTERS. Rain does this irl, it has that little vapor that comes off you and makes that little misty effect that plays with lighting, it's so cool-looking and here it's used to such pretty effect!

One of the panel captions says something about it blurring out all the injuries on the characters but like THAT AIN'T TOO BIG OF A PROBLEM when it gets across the environmental vibes, and also that'd be how it would look in real life too so like… outside viewer's angle is the same as the characters', mostly? my point is: that's the environment!!! that's the vibes, that's the feel! It gets it across and it does so in the most pretty way possible!

And another thing re: rain, the use of it to establish perspective, particularly in panels like this—

—where we can tell we're looking down at Tynan due to the perspective on the rain and where it's pointing. Excellent. (Also, kudos for looking down and emphasizing how Tynan's losing his advantage—lovely use of visual storytelling.)

Additionally, the misting here:

We see it most heavily in the leftmost panel, where it's quite foggy as you would expect in a rainstorm, especially in an environment with a lot of heat, but it's also lightly powdered on in the following two panels and tends to follow light sources, which makes complete sense given how light bounces off particles in the air.

A major point of strength in these too is a thorough understanding of lighting, like rim lighting, the various hues and shades, and an intricate understanding of how light bounces off surfaces even when they're in shadow (we'll see a faint glow in spots where characters are half in shadow, but that's how it would work in real life, because of how light bounces around).

Bringing some of these points together: the fluidity of the lines in magic, and the way simple glowing lines are used to emphasize motion and the magic itself, is deeply clever. I'm basically pulling at random from panels and there's definitely even better examples, but here's one (see this page https://comicaurora.com/aurora/1-16-33/):

First panel, listed in numbers because these build on each other:

The tension of the lines in Tess's magic here. This works on a couple levels: first, the way she's holding her fists, as if she's pulling a rope taut.

The way there's one primary line, emphasizing the rope feeling, accompanied by smaller ones.

The additional lines starbursting around her hands, to indicate the energy crackling in her hands and how she's doing a good bit more than just holding it. (That combined with the fists suggests some tension to the magic, too.) Also the variations in brightness, a feature you'll find in actual lightning. :D Additional kudos for how the lightning sparks and breaks off the metal of the sword.

A handful of miscellaneous notes on the second panel:

The reflection of the flames in Erin's typically dark blue eyes (which bears a remarkable resemblance to Dainix, incidentally—almost a thematic sort of parallel given Erin's using the same magic Dainix specializes in?)

The flowing of fabric in the wind and associated variation in the lineart

The way Erin's tattoos interact with the fire he's pulling to his hand

The way the rain overlays some of the fainter areas of fire (attention! to! detail! hell yeah!)

I could go on. I won't because this is a lot of writing already.

Third panel gets paragraphs, not bullets:

Erin's giant-ass "FWOOM" of fire there, and the way the outline of the word is puffy-edged and gradated to feel almost three-dimensional, plus once again using Screen or a variation on it so that the stars show up in the background. All this against that stunning plume of fire, which ripples and sparks so gorgeously, and the ending "om" of the onomatopoeia is emphasized incredibly brightly against that, adding to the punch of it and making the plume feel even brighter.

Also, once again, rain helping establish perspective, especially in how it's very angular in the left side of the panel and then slowly becomes more like a point to the right to indicate it's falling directly down on the viewer. Add in the bright, beautiful glow effects, fainter but no less important black lines beneath them to emphasize the sky and smoke and the like, and the stunningly beautiful lighting and gradated glows surrounding Erin plus the lightning jagging up at him from below, and you get one hell of an impactful panel right there. (And there is definitely more in there I could break down, this is just a lot already.)

And in general: The colors in this? Incredible. The blues and purples and oranges and golds compliment so well, and it's all so rich.

Like, seriously, just throughout the whole comic, the use of gradients, blending modes, color balance and hues, all the things, all the things, it makes for the most beautiful effects and glows and such a rich environment. There's a very distinct style to this comic in its simplified backgrounds (which I recognize are done partly because it's way easier and also backgrounds are so time-consuming dear gods but lemme say this) and vivid, smoothly drawn characters; the simplicity lets them come to the front and gives room for those beautiful, richly saturated focal points, letting the stylized designs of the magic and characters shine. The use of distinct silhouettes is insanely good. Honestly, complex backgrounds might run the risk of making everything too visually busy in this case. It's just, augh, so GORGEOUS.

Another bit, take a look at this page (https://comicaurora.com/aurora/1-15-28/):

It's not quite as evident here as it is in the next page, but this one does some other fun things so I'm grabbing it. Points:

Once again, using different colors to represent different character actions. The "WHAM" of Kendal hitting the ground is caused by Dainix's force, so it's orange (and kudos for doubling the word over to add a shake effect). But we see blue layered underneath, which could be an environmental choice, but might also be because it's Kendal, whose color is blue.

And speaking off, take a look at the right-most panel on top, where Kendal grabs the spear: his motion is, again, illustrated in bright blue, versus the atmospheric screened-on orange lines that point toward him around the whole panel (I'm sure these have a name, I think they might be more of a manga thing though and the only experience I have in manga is reading a bit of Fullmetal Alchemist). Those lines emphasize the weight of the spear being shoved at him, and their color tells us Dainix is responsible for it.

One of my all-time favorite effects in this comic is the way cracks manifest across Dainix's body to represent when he starts to lose control; it is utterly gorgeous and wonderfully thematic. These are more evident in the page before and after this one, but you get a decent idea here. I love the way they glow softly, the way the fire juuuust flickers through at the start and then becomes more evident over time, and the cracks feel so realistic, like his skin is made of pottery. Additional points for how fire begins to creep into his hair.

A small detail that's generally consistent across the comic, but which I want to make note of here because you can see it pretty well: Kendal's eyes glow about the same as the jewel in his sword, mirroring his connection to said sword and calling back to how the jewel became Vash's eye temporarily and thus was once Kendal's eye. You can always see this connection (though there might be some spots where this also changes in a symbolic manner; I went through it quickly on the first time around, so I'll pay more attention when I inevitably reread this), where Kendal's always got that little shine of blue in his eyes the same as the jewel. It's a beautiful visual parallel that encourages the reader to subconsciously link them together, especially since the lines used to illustrate character movements typically mirror their eye color. It's an extension of Kendal.

Did I mention how ABSOLUTELY BEAUTIFUL the colors in this are?

Also, the mythological/legend-type scenes are illustrated in familiar style often used for that type of story, a simple and heavily symbolic two-dimensional cave-painting-like look. They are absolutely beautiful on many levels, employing simple, lovely gradients, slightly rougher and thicker lineart that is nonetheless smoothly beautiful, and working with clear silhouettes (a major strength of this art style, but also a strength in the comic overall). But in particular, I wanted to call attention to a particular thing (see this page https://comicaurora.com/aurora/1-12-4/):

The flowing symbolic lineart surrounding each character. This is actually quite consistent across characters—see also Life's typical lines and how they curl:

What's particularly interesting here is how these symbols are often similar, but not the same. Vash's lines are always smooth, clean curls, often playing off each other and echoing one another like ripples in a pond. You'd think they'd look too similar to Life's—but they don't. Life's curl like vines, and they remain connected; where one curve might echo another but exist entirely detached from each other in Vash's, Life's lines still remain wound together, because vines are continuous and don't float around. :P

Tahraim's are less continuous, often breaking up with significantly smaller bits and pieces floating around like—of course—sparks, and come to sharper points. These are also constants: we see the vines repeated over and over in Alinua's dreams of Life, and the echoing ripples of Vash are consistent wherever we encounter him. Kendal's dream of the ghost citizens of the city of Vash in the last few chapters is filled with these rippling, echoing patterns, to beautiful effect (https://comicaurora.com/aurora/1-20-14/):

They ripple and spiral, often in long, sinuous curves, with smooth elegance. It reminds me a great deal of images of space and sine waves and the like. This establishes a definite feel to these different characters and their magic. And the thing is, that's not something that had to be done—the colors are good at emphasizing who's who. But it was done, and it adds a whole other dimension to the story. Whenever you're in a deity's domain, you know whose it is no matter the color.

Regarding that shape language, I wanted to make another note, too—Vash is sometimes described as chaotic and doing what he likes, which is interesting to me, because smooth, elegant curves and the color blue aren't generally associated with chaos. So while Vash might behave like that on the surface, I'm guessing he's got a lot more going on underneath; he's probably much more intentional in his actions than you'd think at a glance, and he is certainly quite caring with his city. The other thing is that this suits Kendal perfectly. He's a paragon character; he is kind, virtuous, and self-sacrificing, and often we see him aiming to calm others and keep them safe. Blue is such a good color for him. There is… probably more to this, but I'm not deep enough in yet to say.

And here's the thing: I'm only scratching the surface. There is so much more here I'm not covering (color palettes! outfits! character design! environment! the deities! so much more!) and a lot more I can't cover, because I don't have the experience; this is me as a hobbyist artist who happened to take a couple design classes because I wanted to. The art style to this comic is so clever and creative and beautiful, though, I just had to go off about it. <3

...brownie points for getting all the way down here? Have a cookie.

[leucisticpuffin]

On a summer evening in Rivendell, Elrond's little family are busy designing a sensory-play room for the twins. (If Elrond ends up hiding in there too after stressful councils, no one's going to say anything.)

For Day 5 of @elrondweek (a little late because of absent-mindedness...) Please click on it to see all the details!!

A lot of research went into this painting (and a lot of thought about how you'd crease a multisensory environment in a fantasy world with no electricity for pretty lights and bubble lamps) so here are some notes and headcanons:

Lighting: A number of elves who studied under Feanor later lived in Middle-earth (especially Eregion) and continued making crystal lamps and light-altering gemstones. The crystals in the small jar are a kind which glows for several hours after being “charged” with sunlight. They are used for decoration and in situations where a flame would be impractical or dangerous, e.g. a child-safe nightlight. 

Light projection jars: Glass jars decorated with colours and patterns. When a light crystal is placed in the jar, the colours are projected across the floor or wall. (Elladan and Elrohir are still a little young to be trusted with heavy glass jars, so for now these will be kept in a locked chest and used with adult supervision). 

Fabrics: Samples of cloth with lots of interesting colours and textures for the kids to choose from. Some (like the star cloth Elrohir is admiring) will be draped from the walls or ceiling of the sensory room to create a dark, cosy environment, and others made into blankets, cushions, etc. 

Star cloth: Cloth embroidered with tiny, faintly-glowing gems, resembling the night sky. First created in Valinor by a member of the textiles guild, it was popular among older elves who wanted to remember the skies of Middle-earth. It was expensive and difficult to make, and fell out of fashion when the Noldor left Valinor. The craft was revived in second-age Eregion, and easier methods of making it were developed. 

Toys: Elladan is playing with a painted wooden rain-shaker. Other sensory toys pictured include a colourful spinning top and a set of tactile wooden balls. They’re gathering a collection to keep in the boys’ toy-chest. Elrohir prefers the tactile objects, while Elladan likes any toy that makes a noise.

Room decor: Inspired by Art Nouveau aesthetics. The rug is based on an antique Donegal carpet, and the wallpaper on Arts and Crafts designs. 

Clothing: Inspired by paintings and antique garments: the twins and Celebrian are (loosely) based on paintings by John Singer Sargent and Henry Arnould Olivier, while Elrond’s robes are based on a 1905 House of Worth tea gown.

There are a number of flowers and plants in this painting; their meanings in flower language are as such: 

Bonsai pear tree: comfort

Irises (in the stained-glass window): wisdom

A vase of white lilacs: joy of youth, youthful innocence

Traveller’s joy (in the patterned wallpaper): safety

Primroses (Elladan’s hairpin and the embroidery on the twins’ dresses): early youth

Daisies (Elrohir’s shoes): innocence

Forget-me-nots (Celebrian’s dress): true love

Lily-of-the-valley (Elrond’s hairpin): sweetness, return of happiness

[literaryvein-reblogs]

Word List: Fashion History

to try to include in your poem/story (pt. 2/3)

Exomis - a short, asymmetrical wrap garment pinned at the left shoulder, worn by men in Ancient Greece

Eye of Horus - or Wedjat eye, is an ancient Egyptian symbol that represents the eye of the falcon-headed god Horus and symbolizes healing and regeneration and was often worn for protection

Faience - a man-made ceramic material that was often used in ancient Egypt to make jewelry and devotional objects; it is usually a blue color

Falling Band - a flat and broad white collar often with lace on the edges, worn by men and women in the 17th century

Fibula - served as a pin to both hold garments together and to show status of those with prestige or power within society; was popular in Greek culture

Fichu - a triangular shawl, usually worn by women, draped over the shoulders and crossed or fastened in the front

Fontange - a linen cap with layers of lace and ribbon, worn flat and pinned to the back of the head

French Hood - a rounded headdress for women that was popular in the 16th century (from 1540)

Frock Coat - a collared man’s coat worn through the eighteenth to the twentieth century; rose to prominence mainly in the nineteenth century, especially Victorian England; characterized as a knee-length overcoat, buttoned down to the waist, that drapes over the lower half of the body like a skirt

Frogging - ornamental braid or cording that can function as a garment closure, or be solely decorative

Gabled Hood - a woman’s headdress that is wired to create a point at the top of the head and has fabric that drapes from the back of the head

Gigot Sleeve - a sleeve that was full at the shoulder and became tightly fitted to the wrist; also called leg-of-mutton sleeve

Guipure Lace - a type of continuous bobbin lace made without a mesh ground; its motifs are connected by bridges or plaits

Himation - a rectangular cloak wrapped around the body and thrown over the left shoulder worn by the ancient Greeks

Huipilli/Huipil - a woven rectangular shirt worn by women in Central America beginning in ancient times

Jerkin - a close-fitting men’s jacket, often worn for warmth, sometimes without sleeves; worn over a doublet in the 16th and 17th centuries

Justaucorps - a long-sleeved, knee-length coat worn by men after 1666 and throughout the 18th century

Kaftan - (also caftan) is an ancient garment, which originated in ancient Persia but then spread across Central and Western Asia; a kind of robe or tunic that was worn by both men and women

Katazome (stencil printing) - a traditional Japanese method for printing designs onto fabric using a stencil and paste-resist dyes

Kaunakes - one of the earliest forms of clothing; made from goat or sheep’s wool and meant to be worn around the waist like a skirt, it is recognizable by its fringe detailing

Kente - a Ghanaian strip woven textile that has striped patterns and bright colors with corresponding meanings

Knickerbockers - or “knickers” are full or baggy trousers gathered at the knee or just below and usually fastened with either a button or buckle; were initially worn by men in the late 19th century and gradually became part of women’s fashion; the garment was usually worn as sportswear and became especially popular among golfers and female cyclists, hence the term “pedal pushers”

Kohl - a black material made out of minerals such as galena and used for eyeliner and eye protection in ancient Egypt

Labret - a type of lip-piercing worn by various cultures to indicate wealth, prosperity and beauty

Love Lock - a lock of hair from the nape of the neck hanging over the chest to show romantic attachment; it was a popular hairstyle between 1590-1650

Lurex - a shiny synthetic fiber made of aluminum-coated plastic with a glittering metallic sheen

Mantua - a jacket-like bodice with pulled back overskirt that bustled in the back, often in elaborately patterned fabric, first worn in the 17th century

Medici Collar - a collar that stands upright on the back of the neck and opens in the front; this type of ruff was introduced to France by Marie de’ Medici in the 16th century, taking her name two centuries later

Moccasins - a type of soft animal skin shoe that were worn by Indians in North America

Muff - a tubular padded covering of fur or fabric, into which both hands are placed for warmth

Mule - a backless shoe

Muslin - a simple plain-weave textile made out of cotton and available in varying weights and finishes; historically, there were also varieties of muslin in silk and wool

Needle Lace -often known as “needlepoint lace”; is a term referring to the technique in which the lace is made of entirely needle work; it developed in the 15th century and then became very popular throughout the 16th century

Nemes Headdress - starched, striped linen headdress that draped on the shoulders and had a tail at center back worn only by royals in ancient Egypt

Panes/Paning - a method of decoration using long parallel strips of fabric arranged to reveal a contrasting fabric underneath that was fashionable from the 15th-17th centuries

Panniers - an under-structure used in eighteenth-century fashion that created a shape wide at the sides and flat at the front and back

Pantalettes - (also referred to as pantaloons) are loose, pants-like undergarments that covered women’s lower halves in the late 18th and early 19th century

Particolored - the combination of different colors within the same garment along the vertical axis

Passementerie - an additional accent or embellishment in silk or metallic threads, such as an embroidered braid, tassel or fringe

Pattens - wooden-soled platform over-shoes, which were commonly worn from the 14th century to the 18th century

If any of these words make their way into your next poem/story, please tag me, or leave a link in the replies. I would love to read them!

More: Fashion History More: Word Lists

[onsa-online-sewing-academy]

Can You Learn to Sew Online? A Comprehensive Look at Your Options with ONSA

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Join our virtual community of passionate stitchers, where inspiration, camaraderie, and personal growth intertwine seamlessly. Embark on a transformative journey that will teach you sewing techniques, ignite your creativity, boost your confidence, and empower you to express your individuality through the timeless art of garment construction.

The world of sewing awaits, and at ONSA, we're committed to being your trusted guide every step of the way. Unleash your inner stitching prowess, and let your creativity take flight – the possibilities are endless.

[wri0thesley]

IVE SEEN A FEW OF UR RECENT POSTS AB TAILOR!READER SO I HOPE ITS OK FOR ME TO COME IN AND DROP SOME RAMBLING !!

firstly, is the tailor!reader exclusive to mondstadt or do you think they'd ever travel to other nations? because omg the thoughts . . .

kaveh making excuses to meet up with the tailor for the umpteenth time that week before they return to mondstadt - ranging from "alhaitham's headphones snagged my scarf!" "cyno got a little competitive over the last tcg game.." always blaming the others in an attempt to get pity from reader 😭 dehya making (repetitive) small talk about weather (or makeup) with reader in order to soothe her nerves and an attempt to conceal the shakiness of her voice and the reddening of her cheeks. nilou inviting them to as many performances as she can manage before reader leaves for mondstadt, wanting to show how much she loves the outfits they designed for her !! or thoma meeting up with reader to discuss fabrics and sewing techniques and ayato begins to take a small interest in reader as he watches his loyal servant blush and ramble from afar. or ayaka finding comfort in the times they visit because of how well they listen to not only her attire needs but her interests and what she's been up to. she just hopes her occasional stutter doesn't give away how flustered she is !! visiting liyue AND OHMYGOD NINGGUANG good lord so much I could say about her, i dont even know where to begin. . . AND YELAN??? poor tailor!reader is going to faint within minutes of being in their presence ^^; and omg sneaky hu tao purposely ruining her clothes so reader is forced to schedule spontaneous appointments to fix the clothes, or her playing small pranks on them for the time that they are visiting !!! and finally returning home to mondstadt, only to see your co workers tired and drained from dealing with the tense atmosphere along with stiff and curt responses from your normally lively, polite, and/or chatty clients </3 and telling kaeya, jean, rosaria, albedo, etc., all about your travels in the other nations and all the lovely and interesting people you met; ignorant to the way the corners of their lips tug down or push into a pout, the slight eyeroll you barely miss, the minor twitches of their fingers when you make a comment on wanting to travel again . . . AAA I love the concept of mondstadt tailor!reader <3

OHH i have not thought of them beyond mondstadt but it's certainly possible; sometimes one needs to travel for new fabrics and notions themselves, because buying from merchants is becoming too cost prohibitive or they just aren't bringing the kind of things you want - sometimes it's nice to see fashion in other nations, to talk about fontaine's new silhouettes or the beautiful silk of liyue or the fascinating dye methods of inazuma, to be able to outfit your mondstadt customers for their adventures outside of the city of freedom too--

and all of these other characters from other nations growing charmed by tailor reader, their smile and their gentle clever hands and their innate eye for design and cut and fabric, their occasional fumbles when they get flustered . . . how cute. they have to invite you again sometime. ningguang who wants a dress for a new ball and for you to outfit beidou appropriately too. ayato who calls you in on the pretense of new clothes for ayaka, kaveh who can't help spend his meagre money on beautiful things. a fatui harbinger who loves luxury and excess and notes your prowess on one of his business trips and wonders what you could drape him in, given half the chance . . .

better take someone for protection to that one.

[therefpoint]

• Maison Margiela Artisanal 2024 Collection by John Galliano, Look 7.

• Evening gown made of silk fringe and spiral motif embroidery, 1925, by Madeleine Vionnet.

Madeleine Vionnet, was a French designer who opened her first fashion house in Paris in 1912, surviving both World Wars even after being forced to close during the First and Second war. Vionnet would use materials such as satin, gabardine and crêpe de chine that were uncommon for the 1920s and 1930s. She became the pioneer of the ‘bias cut’, a technique of cutting cloth against the grain of the fabric, allowing it to drape beautifully to the body and move with the wearer.

Madeleine Vionnet has been credited for inspiring numerous modern designers, especially John Galliano. She has been an inspiration of his since his Spring/Summer collection in 1989, where he adopted her ingenious technique of the bias cut, pushing slip dresses with the bias cut to the forefront of 1990s evening wear in fashion.

Galliano references back to the iconic work of Vionnet in this look on the runway, with many similarities to the evening gown she made in 1925. The evening gown consists of a bright red silk dress with fringe, that drapes to the waist and then flows down past the seam of the dress, and spiral motif embroidery on the hips. Galliano followed the same method but designed a skirt instead - a satin-back crêpe skirt in bottle-green with embellished metallic bronze fringe that falls to the floor and crescent moon motif embroidered on the hips.

Follow and keep your notifications on for more posts on this current Margiela collection and other runway, art, film and media references!

Sources:

Maison Margiela Artisanal 2023 Collection Look 7 image: https://theimpression.com/maison-margiela-spring-2024-couture-fashion-show-review/

Evening gown by Madeleine Vionnet image: https://www.europeana.eu/en/item/2048218/europeana_fashion_UF_86_70_4

[longlistshort]

“Neon Forest”, 2023

“Neon Forest”, 2023, another view

“Red Falls”, 2021

Above are sculptures by Akiko Kotani for the 2023 Florida Prize in Contemporary Art at Orlando Museum of Art.

Kotani’s Red Falls was part of Skyway 20/21 at USF Contemporary Museum, but it was a joy to see it again along with the 2023 sculptures White Falls and Neon Forest.

The museum’s information on the artist and her work-

As a young aspiring artist living in New York, Akiko Kotani discovered the expressive power of textile art while taking a weaving class at the YMCA Manhattan Weaving Workshop. The experience was life changing, leading her to continue her studies in Guatemala, a country with an exceptional textile art tradition. After two years in Guatemala, she returned to the United States to complete her MA in textiles at the Tyler School of Art in 1977.

In 1977 textiles were only beginning to achieve the status as an art form that they currently have in the contemporary art world. At the time the medium was widely associated with traditional and domestic crafts or as part of the fashion and décor industries. That view was starting to change, as demonstrated by the Metropolitan Museum of Art’s acquisition of one of Kotani’s works shortly after her graduation from Tyler. Since then, she has had a distinguished career as an artist exploring a variety of textile practices.

Kotani had been searching for ways to expand the scale of her work when in 2011 she received a grant from the Heinz Endowments and Pittsburgh Foundation which enabled her to pursue that ambition. The result was her first monumentally scaled sculpture, Soft Walls, a precursor of the works seen in the Florida Prize exhibition. Kotani has always used simple and direct methods of weaving and stitching to create her works. For Soft Walls she adopted a loosely woven crochet technique to produce long bands of material cut from white plastic garbage bags. Those bands were then combined to cover large free-standing walls. Kotani’s massive blocks of woven plastic have the elegant simplicity of minimalist sculpture, while the irregular knotting and soft, slumping fabric undermine the austere formalism of the work’s rectilinear shape.

Kotani’s process of crocheting plastic bags and other materials into long bands is an innovative development that has allowed her to create a variety of large-scale sculptural forms. White Falls and Neon Forest use these crocheted bands, draped in different ways to make sophisticated minimalist statements. Both sets of works are made livelier by how they respond to light. The thin plastic of White Falls shimmers like cascading water. The three fifteen-foot-high conical hangings of Neon Forest are a vibrant satin fabric with a sheen that sparkles in light.

Red Falls is a more ominous work. It is designed to come out of a corner, perhaps suggesting a crevice in a cliff or even an open wound. Made with red plastic bags used by hospitals for biological waste, Red Falls expresses Kotani’s concern for the plight of physically abused women. In fact, all Kotani’s work is in some way an expression of her concerns for women. Her use of textiles and the repetitive practice of weaving pays homage to the extraordinary achievements of women throughout history which have typically been undervalued by society.

[thenerdysewist]

Making A Ranger Cape

The last thing I needed to make for my ranger cosplay was the cape. I designed it to be open front with a flap closure so that the armor was still visible.

Materials

Thrifted wool

Simplicity Pattern 8473

Process

Step One: Mock Up

I knew that the pattern would need to be altered. I was mostly using it as a guide for the shoulder seams and back neckline. So I cut out a mock up out of gingham and tried it on.

As expected, the front closed too far and would cover the armor. I pinned back the front pieces where I wanted them, and stitched them down so I could try the cape on again.

I was happy with the shape so next came draping the flap closure. I measured the length from shoulder to shoulder across my chest, and used that as the length guide. I guessed at the width, and cut out what looked right. Then I sort of scrunched everything together and pinned it in place to see how it looked.

I decided that I liked it, and could move on to cutting it out of my wool.

Step Two: Pattern Alteration

This was an extra step that I didn't need to do, but wanted to. In case I ever wanted to make this exact cape again, I laid it on top of the pattern piece and marked the line for the modified front. I also added allowance for a hem.

Step Three: Fashion Fabric

With everything marked on the paper pattern, I pinned it in place on the wool I found at the thrift store, and cut it out.

I used the dimensions of my flap closure on my mock up, to cut out a flap closure using scrap wool. I used my rotary cutter and mat to make sure the lines were straight.

I gathered the flap closure to give it flexibility. Then I sewed everything together. I inserted the closure into one of the shoulder seams so that the raw edges were hidden inside.

For the hem, I tried using the rolled hem attachment for my sewing machine. The way it works is that you make a small fold on the edge of the fabric, and when you feed the fold you made into the attachment, it rolls the rest of the hem into place for you. (For sewists reading this, I know its called a rolled hem foot). This was completed with mixed results. Even though the wool was thin, I think it was still too thick for the rolled hem method. It kept slipping so parts of it were left un-stitched, and I would have to double back to fix it.

The Reveal:

Over all, I am pleased with how it came out. I think I gathered the flap closure too much, as it came out really narrow. As mentioned before, the rolled hem caused trouble. The end result left the hem a bit uneven, but once it was ironed it wasn't noticeable. That would be something I fixed in the future.

I also made a cape pin to hold everything shut, but I didn't document the process. I just used a medallion with a fox on it that I found at the fabric store, and hot glued a pin back to it. I think it ended up being a nice detail on the final look, but there was no extensive process to make it.

[onegirlatelier]

1930s Qipao - a masterpost

Hey there!

I haven't posted on Tumblr (well, on this sideblog) in a long, long time. I have made plenty of things, just didn't have enough energy to write it all down in coherent sentences.

I think I'm going to make a new series though, since I don't have a blog elsewhere and I need a public space to organise my thoughts, on the making of a qipao in the 1930s style and tradition.

I have made two qipaos before (when I was still a baby to couture dressmaking) but whilst they were wearable, they were very messy with structural issues. Now that I'm a bit more experienced, I'm determined to a) make a proper toile/pattern, b) improve my pressing skills with a steam iron, and c) have nice and round fabric buttons and neat 'button legs'.

I won't have time to smooth out my notes, so I'm just going to reblog and add stuff in the thread or edit the post directly. I'm going to note down the methods I use as well as other methods I've learned about, since there are different ways to make things and each dressmaker develops their own techniques over time.

So for today I just want to share my choice of fabrics and notions.

Main fabric

'Pink sketchy retro garden rayon fabric' purchased at Guthrie & Ghani (a shop located in Birmingham, UK). The selvage reads 'AMSTERDAM by Anbo Textiles designed by Sholto Drumlanrig', so I guess that's the actual textile company and designer.

The website says the rayon is 'similar to viscose', but since rayon technically equals viscose, we don't actually know if the rayon used here is the old-fashioned stuff or a more eco-friendly version like Ecovero.

It feels very smooth with a good drape, a bit heavier than silk.

I got 2.5m which would be enough for a 120cm long qipao. A 1930s qipao has no shoulder seams so you cut the front and back in one piece, hence the length of fabric=2*(length of the garment). I only need 80cm in width for a short-sleeved qipao though. If you have a wide fabric width you can actually make two sleeveless/short-sleeved qipaos, or you can save the other half for something else!

Other fabric choices

The perfect choice would be silk. This is because silk drapes nicely and is very easy to stretch/shrink and be molded into 3D shapes. Of course you need a drapey silk, not too stiff and not too flowy.

Other natural fabrics, including cotton, linen, and wool, are all good. Cotton and linen will be harder to shape though.

Synthetic/semi-synthetic fabrics can be used too, just keep in mind that some are hard to shape, and some do not wash well. You want something that is very breathable, since it fits snugly around the neck, and drapey.

A medium, non-transparent fabric for a single-layered (or lined for colder weather) qipao. A transparent silk can be paired with a slip (which you would wear anyways if you follow the norm of the 30s).

If you plan to wash your finished garment you must choose a fabric that can be washed reasonably without fuss and pre-wash it.

Binding tape

Mine is a pre-made tape from Atelier Brunette. You can make your own with the fabric of your choice. It has to be on true bias (very important)!

I have eight metres in total, not sure how much I will end up using.

Stay tape

Super important. 99% of the resources I've read suggest fusible interfacing. A very thin but sturdy woven tape would work too. Sometimes I use strips of silk organza cut on straight grain (or leftover selvages), which is also what I plan to try for this project.

You need at least 4*(length of garment).

Sewing thread

I always use Fujix 100% cotton sewing thread. Also a thicker (maybe cheaper) thread for thread-marking and basting. If making surface decorations, silk threads would be nice. I don't feel the need to wax the Fujix threads but if using another brand/type I would certainly consider waxing.

Starch glue

Either buy some or make your own. Another soluble stabilizer would probably work too. This is used for the edges, especially at the neckline. If I didn't want to bother with a glue, I would leave the cutting until the last minute, baste with running stitches, and minimize the handling.

Interfacing

This is for button strips and the collar. I use a medium-soft cotton canvas. I know most people use a fusible interfacing, but I don't like it. Organza is not the most suitable, though if I needed a semi-transparent natural fabric for the style then it would be my best bet. You can also starch the fabric to stiffen it, but a starch glue washes out.

Also a lot of sharp pins and a trusted pair of scissors. Some people use spaghetti straps to make buttons, in which case you need a drawstring threader type of thing.

[k00280081]

Artist Research: Bibiana Berenguer "Bibian Blue"

"Bibian Blue is a maestra within in the established Avant Garde fashion design scene in Europe".

'Her brand is a collective of over a decade of couture collections with identifiable pieces of "unclassifiable fashion which is both sensual yet unique, to allow her clients to ´tirelessly explore the boundaries of innovation and tradition.'" From her private workshop in central Barcelona, the evolution of Bibiana Berenguer´s brand pays respect to the binding connection of art and intuition, dream symbolism and inspiration through the implementation and application of more unconventional fabrication methods which she applies to hermeneutical patterns sourced from European art history and the Pre-Modernist movement. She takes inspiration from often diverse and sometimes juxtaposed disciplines such as painting and sculpture, theatre and circus, music and comics. Each collection within Bibian Blue is meant to evoke expressions of realities which are yet to be happen. These notions are in turn melancholic portrayals of an impending time of uncertainty. The reinvention of mythological styles such as the Barroque and Neo-Classical period ignites Bibian Blue´s passion for technological experimentation and innovative new ways of working with materials and fabric which she lovingly converges into unique, yet highly feminine and functional wearable works of art.'

https://www .forcmagazine.com/bibian-blue/#:~:text=Descended%20from%20an%20ancestry%20of,fashion%20design%20scene%20in%20Europe.

The works from Bibian that really caught my eye were from the 'Butterfly Collection'. Each of these pieces look like a butterfly's anatomy being used to drape as fabric to create clothing.

These pieces have really inspired me for the next step of my project. I want to encapsulate the idea of temporary forms and metamorphosis (which butterflies do to develop), to show how we as people are ever changing in not only emotions, but how we each grow and develop over time such as how butterflies evolve to reach the next step of their lifecycle.

[meltingflowers]

Ideas for Boho Theme Wedding Decorations

For more than two hundred years, the boho theme has dominated everything from weddings to fashion and décor. The boho era has left behind a very unique free-spirited creative and aesthetic aura. You can use all of your imagination with this theme.

Bohemian and traditional Indian wedding decoration themes have a lot in common, so incorporating features of both is fairly simple. So, here are some ideas for adding excitement and a lot more bohemia to your wedding decor.

Mandaps With A Rustic Canopy

This will be the easiest and most beautiful element to include in your wedding design. Make the mandap using some large, rusted logs, vines, and creepers, and then embellish it with flower decoration for wedding. In comparison to erecting an old-style mandap, it looks absolutely lovely, is environmentally sustainable, and requires a lot less work.

To make it appear more effortless, the idea is to make it as rough as you can. These mandap arrangements are becoming more and more popular since they are incredibly adaptable. And can be used with any style of theme wedding decorations.

Tents

Banquet halls in the shape of tents appear quite quaint and traditional. If you're planning to set up a location like that, you might want to think about obtaining low tables with cushions for a seating area. Alternately, you may erect a few tiny cone-shaped teepees decorated with additional flowers, greenery, and branches.

These elaborate installations can also be used as a stage for your sangeet, haldi, and mehndi celebrations.

Macramé Accent

An age-old method of creating dream catchers, carpets, table runners, cushions, and other items is knitting with macramé. When combined, these simply look stunning, and you may go with the traditional beige theme because it complements every colour scheme.

The dream catchers come in a variety of sizes and forms and can be adorned with beads, colourful feathers, and other decorations.

Bohemian Tabletops

You can wish to include the traditional coloured glassware that just makes everything gipsy if you want to dine in a bohemian style. They complement hardwood table tops with macramé runners quite well.

Use traditional floral arrangements for the centrepiece, but add more greenery and leaves than usual. Set tall candles on antique candle stands and place colourful glass bottles and jars all around the centrepiece.

Lights

This theme features some of the most lovely light installations that wedding locations In Bangalore use. Cover the dinner tables with a canopy of golden light or drape trees with fairy lights. You can add simple chandeliers or elaborate lanterns to your outdoor decor. To give even more radiance, use large, thick candles next to the centrepiece.

Unique Flowers

Given that they make up the majority of decor, flowers do make a difference. Traditional flowers and wildflowers like scabiosa, spray roses, small calla lilies, cremon mum white flowers, and spider anastasia are typically favoured for a boho wedding. If you could find some dried flowers and greenery to go with these blooms, that would be fantastic.

Make contact with the best flower decorators In Bangalore for the wedding decoration.

[sitaram-designer]

Why Does Every Womens Wardrobe Must Have Traditional Ethnic Wear

The women's traditional clothing of a culture is an essential component of a lot of different societies, not to mention a classic fashion statement. These articles of clothing, including sarees, kurtas, and lehengas, are steeped in history, tradition, and culture, and they have the ability to lend a one-of-a-kind quality to any wardrobe. Keep reading to know why your wardrobe must have traditional ethnic wear for women.

The adaptability of traditional ethnic clothing for women is one of the primary reasons why every closet ought to contain some of this clothing. These articles of clothing are appropriate for both business attire and more relaxed settings. For example, a saree can be worn in a manner that is traditional and formal for an event like a wedding, or it can be worn in a manner that is less formal and more modern for an occasion like hanging out with friends. Because of its adaptability, the product offers excellent value for the money.

A person's cultural history can be celebrated and honored in several ways, and possessing traditional ethnic clothing can be one of those ways. These articles of clothing are an essential component of many different cultures and can be worn as a display of pride and admiration for one's ancestry and tradition. One method to honor one's Indian ancestry while also celebrating the celebration of occasions like Diwali is to dress in traditional Indian garb, such as draping oneself in a saree. You must buy traditional ethnic wear for women online for better options.

In addition, weddings, festivals, and religious rituals are all occasions that call for special attire, and one option that is both exquisite and fashionable is traditional ethnic apparel. The fact that traditional ethnic wear for women typically has sophisticated designs and is covered with lovely embroidery and embellishments makes them well-suited for the events in question. They offer a means by which one can distinguish oneself from the crowd and express one's individuality.

Traditional ethnic wear for women is not only significant in terms of culture and fashion, but they also offer a choice that is sustainable and kind to the environment. The majority of these garments are hand-woven, and they are constructed out of natural fibers such as cotton and silk, both of which are non-toxic to the environment and biodegradable. As a result, compared to rapid fashion, wearing traditional ethnic wear is the option that is more responsible and better for the environment.

Last but not least, traditional ethnic wear for women from a particular ethnic group is frequently an heirloom that is handed down through the generations. They are frequently appreciated and cared for, and as a result, they might be considered a unique thing by many people. These garments have the power to bring back happy thoughts and feelings from the past, as well as offer a sense of connection to the past.

If you have been looking for the best online womens clothing store, you may get in touch with Sitaram Designer. Our brand has the most amazing designs of traditional clothing. Shop them now!

[rashmikadigital]

The Timeless Elegance of Indian Traditional Sarees

Indian traditional sarees are not just pieces of fabric; they are a reflection of India's rich cultural heritage, craftsmanship, and elegance. Spanning centuries, the saree has evolved into an enduring symbol of grace and femininity. It is worn with pride by women across generations, whether it’s for casual daily wear or to celebrate special occasions. In this article, we explore the significance, varieties, and timeless appeal of traditional Indian sarees.

A Symbol of Tradition and Identity

The saree, a six to nine-yard fabric, is more than just a garment. It symbolizes tradition, culture, and identity. Indian women have worn sarees for millennia, and the garment remains a popular choice even in modern times. The saree's ability to evolve while staying connected to its roots is what keeps it relevant in today's fashion landscape.

In India, sarees are not just worn for their beauty but for the cultural values they represent. They are worn in various styles across the country, with different draping methods depending on the region and occasion. Each state in India has its unique saree tradition, showcasing the diversity and rich heritage of the country.

Variety and Craftsmanship

India is home to an extraordinary variety of sarees, each with its distinct weaving techniques, fabrics, designs, and styles. Some of the most popular traditional sarees include:

Banarasi Saree: Originating from Varanasi (Banaras), this saree is known for its rich, intricate brocade work woven with silk and gold threads. Often adorned with elaborate patterns and designs, Banarasi sarees are a favorite for weddings and festive occasions.

Kanchipuram Saree: A traditional silk saree from Tamil Nadu, Kanchipuram sarees are celebrated for their durability, lustrous silk, and contrasting borders. They are often passed down as heirlooms from one generation to the next.

Chanderi Saree: From Madhya Pradesh, Chanderi sarees are lightweight and known for their sheer texture. They are often woven with silk and cotton, featuring delicate zari work, making them perfect for formal and festive occasions.

Paithani Saree: Hailing from Maharashtra, the Paithani saree is recognized for its luxurious silk and vibrant colors. The pallu often features intricate peacock or floral motifs.

Bandhani Saree: A popular saree from Gujarat and Rajasthan, Bandhani sarees are known for their tie-dye patterns. They are colorful and perfect for festive wear.

Tussar Saree: Known for its rich texture and natural gold tone, Tussar silk sarees are versatile and perfect for both casual and festive wear.

Each type of saree represents the craftsmanship of artisans who have dedicated their lives to preserving this art. The handwoven nature of many sarees makes them unique, with no two sarees being exactly the same.

Timeless Appeal

Despite changing fashion trends, the saree remains timeless. Women wear sarees with pride for various occasions, including weddings, festivals, religious ceremonies, and formal events. The versatility of the saree is one of its most appealing aspects, allowing women to drape it in different ways based on personal preferences and regional customs.

Sarees are not limited to traditional designs. Today, designers are incorporating modern elements like contemporary prints, fabrics, and embellishments to appeal to the younger generation. This fusion of modern and traditional styles ensures that the saree remains a part of every woman’s wardrobe.

Sarees in Global Fashion

The saree’s beauty is not confined to India. It has captured the imagination of fashion enthusiasts globally, with Bollywood and Indian fashion designers playing a significant role in popularizing it. International celebrities have been spotted wearing sarees on red carpets, and many global fashion houses have incorporated saree-inspired designs in their collections.

For Indian women living abroad, wearing a saree represents a connection to their roots and heritage. Sarees are now easily available online, making it convenient for women around the world to access authentic traditional designs.

Conclusion

Indian traditional sarees are timeless garments that symbolize India’s diverse cultural heritage, history, and craftsmanship. Whether it’s the luxurious Banarasi silk or the vibrant Bandhani, each saree tells a unique story and represents the skill of artisans who have perfected their craft over centuries. The saree’s ability to evolve and adapt ensures that it will remain a beloved garment for generations to come, not only in India but across the world.

[ippnoida]

Fashion brand Telma adopts Kyocera inkjet technology

Kyocera Document Solutions has provided Japanese fashion brand Telma with fabrics printed with its environmentally friendly inkjet textile printer Forearth and presented at the Rakuten Fashion Week Tokyo. The fabrics were presented at the Rakuten Fashion Week Tokyo. 

On Monday, 2 September, Telma held its first runway-style show in Tokyo, and fabric for one third of the total 40 looks was printed with the Kyocera Document Solutions' Forearth. 

Telma designer Terumasa Nakajima, who has a passion for textiles, focused on printing on acetate fabric as one of his specialties for this show. Acetate is a semi-synthetic fabric made mainly from wood pulp, and is often used for scarves and skirts because of its beautiful silk-like luster and drape, as well as its fluffy elasticity.

However, in conventional dyeing of acetate, it is difficult to control temperature and time in the dyeing process because the fabric is sensitive to heat, and problems such as poor coloration and uneven coloration occur due to the non-uniform particle size and dispersion of the dye.

On the other hand, the pigments used in Forearth do not require processing at high temperatures, making them suitable for the heat-sensitive properties of acetate, and they also produce vivid colours, solving issues such as color reproduction and color uniformity.

10 different designs are printed on 6 types of fabrics (acetate, rayon-polyester blend, silk chiffon, polyester chiffon, polyester satin, and nylon organ.

Terumasa Nakajima said, This is the first time for me to present my collection in Tokyo in the form of a runway, and I wanted the presentation to be like an introduction of myself. I graduated from the Royal Academy of Fine Arts Antwerp, Belgium, and started my career with the fashion brand Dries Van Noten (Belgium). With this aspect in mind, I decided on the concept of mixing Western and Eastern aesthetics to create something by the handiwork of people that Japan is proud of.   Until now, printing on acetate fabrics requires processing at high temperatures to achieve solid coloration, making it impossible to use the fabrics even if we wanted to. This time, when we saw the acetate fabric printed by Forearth, we were very surprised. I was impressed by the potential of the acetate fabrics, not only in terms of their excellent coloring but also in terms of their texture. I felt the potential of Forearth in the fact that it can be used with any material, including silk and polyester, which had been considered difficult until now, and I felt that it could transcend the barriers of design.   I was also very sympathetic to the environmental friendliness of the product. I was impressed by Forearth's technological innovations that combine sustainability and quality, such as reducing water use by 99% compared to conventional methods. We produced 40 costumes this time, and were impressed by Forearth's ability to quickly print a wide variety of designs on a wide variety of fabrics, which gave us a sense of Forearth's mobility.   I believe that Forearth's advanced, environmentally friendly printing technology will be very useful in the apparel industry in the future. While conventional technologies have had problems with texture and limitations in processing, Forearth has established a high level of quality based on the premise that people will wear it, and I sensed a great deal of potential for the future.”

Kyocera Document Solutions Europe Management B.V. is a group company of Kyocera Document Solutions Inc., a global leading provider of total document solutions based in Osaka, Japan. The company’s portfolio includes reliable and eco-friendly MFPs and printers, as well as business applications and consultative services.  

[sommersinc]

Hydroentangled Nonwoven Fabrics: The Future of Versatile and Sustainable Textiles

Hydroentangled nonwoven fabrics, also known as spunlace fabrics, are revolutionizing industries with their unique properties and sustainable manufacturing process. This innovative fabric is produced by entangling fibers with high-pressure water jets, creating a web-like structure that is both strong and flexible without the need for adhesives or binders. With their durability, versatility, and eco-friendly nature, hydroentangled nonwoven fabrics are becoming the go-to solution across sectors like healthcare, hygiene, automotive, and fashion.

What Are Hydroentangled Nonwoven Fabrics?

Hydroentanglement, or spunlace technology, is a mechanical bonding process in which fibers—natural or synthetic—are entangled through fine jets of water. The water pressure causes the fibers to interlock, forming a fabric that is soft, absorbent, and highly durable. This method of fabric production offers several advantages, including:

No chemicals or binders: Unlike traditional fabrics, hydroentangled fabrics are created without the need for chemical binders or adhesives, making them environmentally friendly and safe for sensitive applications.

Strong yet soft: The hydroentangling process results in a material that is not only strong but also retains a level of softness, making it suitable for both heavy-duty industrial uses and delicate personal care products.

Versatility: Hydroentangled fabrics can be made from a variety of fiber types, including polyester, cotton, viscose, and even biodegradable fibers, providing a wide range of options for different industries.

Applications of Hydroentangled Nonwoven Fabrics

Hydroentangled nonwoven fabrics have gained popularity across a wide spectrum of industries due to their performance, cost-efficiency, and environmental benefits. Here are a few areas where they are extensively used:

Medical and Hygiene Products: Hydroentangled fabrics are widely used in the healthcare sector for disposable medical gowns, drapes, masks, and wipes. Their softness and absorbency make them ideal for skin contact, while their strength ensures durability during use.

Personal Care Items: In personal care, spunlace fabrics are used in products like baby wipes, makeup remover pads, and facial wipes. The combination of softness and durability makes them perfect for products that need to be gentle yet effective.

Industrial Wipes and Cleaning: Their ability to absorb liquids and withstand wear makes hydroentangled nonwoven fabrics ideal for industrial cleaning applications, where heavy-duty wiping materials are required.

Automotive Industry: The automotive sector uses hydroentangled fabrics in various components such as insulation, linings, and soundproofing materials, benefiting from the fabric’s durability, flexibility, and cost-effectiveness.

Fashion and Upholstery: With the increasing demand for sustainable fashion, hydroentangled fabrics are finding their way into the textile and fashion industry as they can be produced using natural and biodegradable fibers, reducing environmental impact.

Sustainability and Environmental Impact

One of the most attractive features of hydroentangled nonwoven fabrics is their eco-friendly manufacturing process. Since the production process requires only water and does not rely on chemical binders or adhesives, it reduces environmental harm. Additionally, the fabrics can be made from biodegradable fibers, offering a more sustainable alternative to traditional textiles. This makes hydroentangled nonwovens a strong contender in industries looking to reduce their carbon footprint.

Why Choose Sommers Inc. for Hydroentangled Nonwoven Fabrics?

Sommers Inc. is a leader in providing high-quality nonwoven solutions tailored to meet the specific needs of diverse industries. With years of experience in the fabric manufacturing industry, we offer a wide range of hydroentangled nonwoven fabrics designed for performance, durability, and sustainability. Our team of experts works closely with clients to provide customized solutions that fit your specific application, whether you're in the healthcare, automotive, or consumer goods sector.

Ready to elevate your product range with premium hydroentangled nonwoven fabrics? Contact Sommers Inc. today to learn how we can help you find the right material for your needs! Let us help you make a sustainable and innovative choice that meets the demands of today’s market.

Explore our range of hydroentangled nonwoven fabrics and discover how Sommers Inc. can provide the perfect material solution for your industry. Contact us today for samples and expert consultation!

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All About Patola Sarees: A Timeless Treasure

Patola sarees are not just garments; they are a rich tradition woven with history and artistry. Originating from Gujarat, these sarees are famous for their vibrant colours and intricate designs. Because of their unique double-ikat technique, patola sarees have become a symbol of elegance and sophistication. Let's explore the fascinating world of Patola sarees in detail.

The Craftsmanship Behind Patola Sarees

Creating a Patola saree is a labour-intensive process that involves highly skilled artisans. The double-ikat technique used in Patola weaving requires immense precision and skill. In this process, both the warp and weft threads are dyed before weaving, ensuring that the intricate patterns emerge beautifully on the final product. This method is what makes Patola sarees unique and highly sought after in the fashion world.

Each saree can take several months to weave, often involving hundreds of hours of meticulous work. The vibrant colors used in Patola sarees are derived from natural dyes, ensuring they remain bright and striking for years. The patterns often include motifs inspired by nature, mythology, and traditional symbols, reflecting the rich culture of India.

Why Choose Patola Sarees?

Patola sarees stand out for several reasons:

Unique Designs: Each Patola saree features a one-of-a-kind pattern. Common motifs include peacocks, flowers, and geometric shapes, all intricately woven into the fabric. This uniqueness ensures that no two sarees are the same.

Vibrant Colors: The natural dyes used in Patola sarees create stunning, vibrant colours that don’t fade easily. These bright shades make Patola sarees ideal for festive occasions and celebrations.

Versatile: Patola sarees can be styled in various ways, making them suitable for different events. Whether it’s a wedding, a festival, or a family gathering, a Patola saree adds grace and charm to any outfit.

Durability: Made from high-quality silk, Patola sarees are not only beautiful but also durable. With proper care, they can last for generations, making them a worthy investment.

Styling Tips for Patola Sarees

When wearing a Patola saree, styling plays a crucial role in enhancing its beauty. Here are some tips to help you look your best:

Accessorize Wisely: Pair your saree with traditional jewelry like jhumkas or a statement necklace. Gold or silver jewelry complements the richness of the saree beautifully.

Choose the Right Blouse: A contrast blouse can enhance the overall look. Opt for simple designs to let the saree be the focal point. Experiment with various necklines to find what suits you best.

Perfect Draping: The way you drape your saree can significantly impact your appearance. Traditional Gujarati draping styles can enhance the overall look, or you can try modern draping techniques for a fresh twist.

Footwear Matters: Pair your saree with comfortable yet stylish footwear. Traditional juttis or elegant heels can elevate your look.

Caring for Your Patola Saree

To keep your Patola saree looking fresh and vibrant, follow these care tips:

Gentle Washing: Hand wash your saree in cold water with a mild detergent. Avoid wringing it out to prevent damage and preserve its intricate patterns.

Drying: Lay the saree flat to dry in the shade. Direct sunlight can fade the colours, so it's essential to keep it out of harsh light.

Storage: Store your saree in a cotton cloth bag to protect it from dust and moisture. Avoid hanging it, as this can distort the fabric.

Why Buy Patola Sarees?

Investing in a Patola saree means embracing a rich cultural heritage. The uniqueness of each saree makes it a statement piece in your wardrobe. Patola sarees are perfect for those who appreciate craftsmanship and the beauty of traditional attire. They are suitable for both casual and formal occasions, making them versatile additions to any wardrobe.

Explore the Beauty of Patola Sarees

When looking to add a Patola saree to your collection, consider shopping online to find authentic pieces. You can search for buy Patola sarees online to find reputable sellers who offer a wide range of options. Whether you're searching for a bright colour or a traditional design, you can find something that suits your taste and style.

Conclusion

Patola sarees are not just a piece of clothing; they embody a rich cultural heritage. With their stunning designs, vibrant colours, and skilled craftsmanship, they make a perfect addition to any wardrobe. When you choose a Patola saree, you are not just wearing a garment but carrying forward a beautiful tradition. Explore the vast selection available and discover the magic of Patola sarees today!

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