#avisco fabrics

[gameraboy2]

Avisco Fabrics, 1959 ad

[chicinsilk]

US Vogue July 1959

On the left, Isabella Albonico wears a pink crepe dress and a four-faceted ruby ​​velvet hat. By Sally Victor. On the right, Anne St.Marie wears a creamy crepe dress and a cream velvet pillbox. By Madcaps. Both dresses are by Hannah Troy, in Chardon-Marché crepe, Avisco rayon and Celanese acetate.

À gauche, Isabella Albonico porte une robe rose en crêpe et un chapeau en velours rubis à quatre facettes. Par Sally Victor. À droite, Anne St.Marie porte une robe en crêpe crémeux et un pilulier en velours crème. Par Madcaps. Les deux robes sont signées Hannah Troy, en crêpe Chardon-Marché de rayonne Avisco et acétate Celanese.

Photo William Klein vogue archive

[myvintagevogue]

Avisco Fabrics 1959

[kunalcmi]

CELLULOSE ACETATE FIBERS MARKET ANALYSIS -(2019-2027)

The global cellulose acetate fibers market size is projected to surpass US$ 7.8 billion by 2027, and register a CAGR of 9.1% over the forecast period (2019 - 2027).

 Market Overview

Cellulose acetate fibre is a type of manufactured fibre associated with tree pulp cellulose, or cotton. These acetate fibres are recognized by trade names such as Estron, Acele, Celanese, Avisco, and Chromspun. In recent years, these synthetic fibres have been replaced by cheaper alternatives such as polyester and nylon. The production process of cellulose acetate fibers was first discovered in 1865, however, the commercial production was not undertaken until 1921. The acetate fabric has several valuable qualities such as low manufacturing costs, comfort, good draping, smoothness, quick drying, lustre, heat retention, and dye-ability. Moreover, it is highly renewable as it is made from wood pulp or cotton lint, resistant to moisture, able to bond with plasticisers, pressure, and heat, and solubility in organic solvents and water. Acetate fibres, however, have weaker tenacity, and need to be dry cleaned.

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 Market Dynamics

Acetate fabric has application as lining for clothes, sleepwear, tags and labels on clothes, gift box lining, ribbons, and other various goods owing to its breathable nature. Furthermore, acetate fabrics are used in bridal attires such as wedding gowns as they drape well, and have a smooth, shiny and glossy texture akin to silk. Typically, acetate fibres are combined with other fabrics such as polyester and rayon to make clothing. Cellulose acetate fibres have another major application as camera film and magnetic tapes owing to its light and easy to use nature. With a melting temperature (230 °C), diacetate can be mixed with appropriate plasticizers in its flake form into powders for the purpose of molding solid objects, and cast as a film. Among other applications, cellulose acetate fibers can be used in furnishings and beddings, eyeglass frames, fibre-tip pens, cigarette filters, diapers and other absorbency products, and toys such as the original Lego bricks which were produced using cellulose acetate until 1963. Therefore, the wide range of applications is expected to propel growth of the global cellulose acetate fibre market over the forecast period.

 One of the disadvantages of acetate fabrics which could hamper its demand is poor fiber strength. Although, manufacturers are overriding this drawback by combining it with other fabrics such as polyester that can contribute enough strength to make it effective for practical applications.

 Market Outlook

The global cellulose acetate fibres market is segmented into Asia Pacific, Europe, North America, and rest of the world. Over the past years, the highest demand for cellulose acetate fibres was observed in North America, owing to the presence of a mature market such as the U.S. Asia Pacific accounted for the second largest market share as a result of large consumer demand in China. Moreover, rapid expansion of industries such as textile and wood in emerging economies such as India has contributed to the overall growth of the Asia Pacific cellulose acetate fibres market. The Europe market is expected to grow at a steady pace over the forecast period, much like North America. However, growing demand for substitutes such as polyester and nylon in these regions is expected to affect the market growth to some extent. In terms of other regions, the market in Latin America, Africa, and the Middle East is projected to exhibit steady growth owing to increasing focus of key manufacturers on expanding their presence to untapped markets.

 Key Players

Some of the key players operating in the global cellulose acetate fibres market are Bayer AG, Formosa Plastics Group, Du Pont- Akra Polyester LLC, Sinopec, and BASF AG among several others.

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[lyndellbrandi-blog]

Environmental Footprint of Various Fibres used in Clothing - Part 1 - the As

please see the Introductory post to this series 

Acetate (might be labeled Celanese, Avisco, Bemsilk) - Acetate / Cellulose Acetate used to be considered of form of Rayon but they are now listed separately. What is it? A semi-synthetic - it starts with plant material (usually wood pulp or cotton linters (waste from milling)) but is then processed with chemicals ... Acetate has a long history dating back to 1865 and the uses for forms of cellulose acetate are amazingly various.  Some of these are historical, some are quite current: photographic film, filters in cigarettes, lacquer (aka dope) to stiffen the fabric of early aeroplanes, magnetic tape for computers, glasses frames, fibre tipped pens (textas etc),  high absorbency products (disposable baby nappies, feminine hygiene, surgical products),  playing cards, the original Lego bricks were made of it (till 1963), toys & model animals, award ribbons ... all those sashes for Miss World & Miss Universe & for all the other Best in Shows ... 

Manufacturing - the Cradle This will get a bit scientific and I'm not a scientist but I think that basically the plant material is deconstructed into a cellulose by using acetic acid (vinegar is 3-9% acetic acid), acetic anhydride and sulfiric acid.  That sulphate is removed with water then the cellulose gets dissolved in acetone (nail polish remover) to make a viscous resin which can be extruded into fine cellulose acetate fibres. Dyeability Acetate needs a disperse dye but it takes to colour well and should be quite colourfast. What is it used for?  Where will we find it in our wardrobes? Often used for lining garments - sold under the name Bemsilk in the fabric shops.  It has a nice shine so is often used for satins, taffetas etc in bridal and evening wear.  Is also used blended with other fibres. How should we look after it? Acetate is resistant to mold & mildew (a bonus in Sydney).  But Acetate doesn't take well to heat - so never tumble dry and take care when / if ironing.  It loses strength when wet and dry-cleaning is recommended.  It doesn't like abrasion so avoid rubbing.  May be damaged by some of the things in perfumes - is damaged by nail polish remover.  So if you get nail polish or super glue on acetate don't use nail polish remover as you might dissolve the fabric.  Best to embroider or appliqué something over the top! Concerns & Bonuses Made from renewable resource and/or cotton waste ... but let us hope that those trees are replanted.  In the past the chemicals used often went into the waste water system ... let's hope that no longer happens everywhere that Acetate is being produced. Burning Acetate burns like paper ... it is processed cellulose. What happens to it when it does go to land-fill? - the Grave Acetate biodegrades well. Acrylic What is it? Synthetic / man made - a polymer / plastic.  Strange words here - acrylonitrile (aka vinyl cyanide) monomer, vinyl acetate or methyl acrylate comonomer.  DuPont made the first acrylic fibres in 1941. Manufacturing - the Cradle As with most plastics, there are environmental concerns in their manufacture  (google those strange words & see below) What is it used for?  Where will we find it in our wardrobes? Acrylic is used as an artificial wool - it is manufactured as a filament that is cut into short staple lengths (to imitate wool) and then spun into yarn for hand knitting / crochet and for commercial knit-wear. On the positive: it is cheap, it survives careless washing (hot water and strong detergents) better than sheep's wool. On the negative: those chopped lengths can pill badly, and personally - as a hand knitter I don't like using acrylic yarn - it feels like plastic. Acrylic is also used in home furnishings, wigs and fake fur like this fabric. 

{aside: I've been yelled at by animal rights types when wearing (very obviously) fake fur and I have enjoyed yelling back that it is Acrylicus Fakus ... clubbed to death in the Antarctic ... those poor little baby Acryicus Fakuses ...} How should we look after it? Acrylic is quite robust in the wash though it often pills.  Avoid heat in drying - don't iron it. Other Concerns Fire - Acrylic burns like plastic (gives off nasty fumes and goes to hot melted stuff that'll stick to you).  There is Modacrylic - modified to be fire retardant but that process involves more forms of vinyl that are hazardous. Cancer - acrylic fabrics may cause cancer!  Those strange words above sure look scary to me and vinyl cyanide is a carcinogen and mutagen.  Not good for people working where it is made and possibly not good to live with. Pollution from washing - acrylic fabric releases lots of tiny synthetic particles when washed - our washing water often ends up in the oceans ... see "Concerns" towards the end of this wikipedia article Recycling / Repurposing When your acrylic garment gets too shabby to wear even around the house, there are things you can do to keep it from land-fill and here are some ideas.  The better parts could be made into toys, or clothes for dolls.  Chop it into small bits and use as 'stuffing' (very useful for draught stoppers / door-snakes).  I wouldn't recommend using it as a polishing cloth as acrylic tends to scratch but it might make good cleaning cloths, or cut into strips and use to tie up unruly plants in the garden. What happens to it when it does go to land-fill? - the Grave It's plastic, not readily biodegradable. Alpaca What is it? A natural fibre from the alpaca, a camelid from Sth America, scientific name Vicugna pacos, bred for thousands of years for their fibre and meat, there are no known wild alpacas.  There are 2 types - Huacaya and Suri, the Suri look like they have dreadlocks, or like Dougal from the Magic Roundabout only with long legs and a long neck ... here is a Suri Alpaca

Environmental footprint What is the environmental impact of alpacas?  Well, they have padded feet rather than hard hooves, they require less food than most animals of their size, are said not to damage root systems ... so all that sounds better for the environment than sheep.  Fly strike is not an issue, so no mulesing (much better than sheep).  Interesting animals, they use a communal dung pile where they do not graze and this behaviour tends to limit the spread of internal parasites.  They have a 3-chambered stomach and chew cud ... so they get maximum nutrients from low quality food. Gestation on average is 11.5 months (wow!) with one baby (rarely twins), they can live to 20 yrs.  More info on Alpacas in Australia here Shearing Alpacas are shorn once a year, using the same electric shears as for sheep.  Alpacas can kick and spit so in Australia they are usually lain on their sides on the ground or on a table (better for the shearer's back!) with their legs tethered ... known spitters might get a sock over their noses.  All that sounds unpleasant but most animals go into a sort of trance while being shorn - the submission of a prey species?  or perhaps it tickles? Processing It seems that a lot of the alpaca produced in Australia is sold to hand spinners or as specialty yarn to crafts people for knitting and weaving.  There are a small number of mills that will process alpaca fleece.  Alpaca is not greasy like sheep's wool,  so it is easier and takes less water & detergent to clean. Commercial mills have heavy machinery so energy use is a consideration - home spinners run on cups of tea and ginger-nut biscuits. Alpaca can be dyed with the same dyestuffs as sheep's wool (protein dyes) but Alpacas came in some really gorgeous natural colours - from soft greys through lovely gingers to strong blacks. Baby Alpaca - we often see this on yarn labels - it doesn't actually relate to the age of the animal.  It means that the alpaca fibre is 21 - 23 microns - fine and soft. What is it used for?  Where will we find it in our wardrobes? Mostly we find alpaca in the yarn store and it is lovely to knit with.  You might also find garments made of alpaca, mostly in craft-shops & speciality stores.  Not all that yarn or fabric will be from Australia alpacas - much of it comes from Sth America. Notes for fellow crafters:  alpaca yarn behaves differently to sheep's wool, it has beautiful drape but doesn't have the same 'return' after stretching.  It is lovely for loose fitting garments and for shawls and scarves (where you can enjoy the soft handle) but alpaca is not so good when a snug fit is required.  Unless treated (label will say machine-wash) it will felt, full, shrink (all basically the same thing) but the scales are small so it takes longer than sheep's wool. How should we look after it? Knitwear should be stored folded - not hanging.  Gentle wash, preferably by hand, in luke warm water with very little soap (yellow laundry soap is best) do not rub, support garment when lifting it from the water.  Rinse well.  Pop into an old pillow-case and knot the top and spin dry.  Never tumble dry.  If you do not have a gentle spin dryer you can roll garment in dry towels and press out the excess water.  Dry laid flat on clean dry towels away from direct sunshine.  It shouldn't need ironing. Burning Like wool, alpaca burns slowly and will self extinguish if direct flame is removed.  There is little smoke but it smells like burnt hair (because that's what it is). What happens to it when it does go to land-fill? - the Grave It is natural and will break down. Angora What is it? A natural fibre (fluff) from certain breeds of rabbit.  There are English, French and German or Giant - sounds like the beginning of a bad joke! 

Environmental paw-print If you've ever kept a pet rabbit you know that they are quite cheap to maintain.  Feral rabbits are a problem in Australia but I doubt a fluffy angora rabbit would last long in the wild here. Processing OK - this is the concern ... in 2013 PETA released a video showing dreadful treatment of angoras in China.  At the time 90% of commercial angora fibre came from China.  Apparently the problem starts with the breed of Angora ... seems that it was a bad joke after all!   I'll try to do a 'Readers' Digest version' explanation of the problem here. The English and French angora rabbits shed their coats and the fibre is harvested by gently combing out the old fluff as the new coat grows in.  "A time consuming process, best done over several days" ...  I think people in Australia usually keep these breeds as pets and to use the fluff for their own hand spinning.  The German or Giant angora doesn't shed and needs to be shorn - most commercial angora comes from this breed.  Now I'm not going to watch that PETA video but apparently it showed rabbits being plucked like chickens and claims they were kept in filthy cages.  Perhaps PETA found a rogue angora farmer because it doesn't really make sense to me - angora is expensive fibre, you would want to keep your rabbits (and their fluff) nice and clean.  This breed should be shorn every 3 months, they are productive animals, why would anyone terrorise, hurt or damage a good source of income. 

Angora rabbits can and should be shorn without hurting them ... however, it is impossible not to laugh at a freshly shorn angora.

What is it used for?  Where will we find it in our wardrobes? Angora is a lovely luxury fibre; it is (and should be) expensive.  Angora is actually finer and softer than cashmere!  We find it in knitting yarn and occasionally in garments.  If you are concerned about those PETA claims it might be difficult to avoid Chinese angora in ready-made clothing (though price might be a guide).  There are Australian and humane suppliers of angora fluff for hand-spinning and angora yarn for knitting. Note:  because angora has a short staple and because it is expensive, it is usually blended with other fibres. Personally, I still have dreams of owning a few angora rabbits and using their fluff to spin enough yarn to knit myself a classic 1950s style twin set. How should we look after it? Angora is delicate - you don't want it to shed all the soft fluff.   In the past, people put their angora knitwear in the refrigerator.  Not sure I would do that - but I would store folded, not hanging.  Gentle hand wash, in luke warm water with very little soap (yellow laundry soap is best) never rub, support garment when lifting it from the water.  Rinse well.  Roll garment in dry towels and press out the excess water.  Dry laid flat on clean dry towels away from direct sunshine.  Don't iron. What happens to it when it does go to land-fill? - the Grave Angora is so expensive I'm not sure I want to think about this ... but it is natural and will break down. Art Silk - artificial silk - an early name for Rayon and an example of clever marketing ... I think that the Art Silk of the 1920s was what we now call Acetate rayon but I’m not completely sure about that. Well - I've only done the A's and this post is already really long ... so I'll leave it here and get started on the fibres that start with B for the next post.

[chicinsilk]

US Vogue July 1959

Betsy Pickering wears a black dinner-theater-dance dress. By Lee Claire, in Chardon-Marché crepe, Avisco rayon and Celanese acetate. White mesh hood with black satin bows clipped on top By Lilly Daché. Black strappy sandals, Newton Elkin.

Betsy Pickering porte une robe noire de dîner-théâtre-danse. Par Lee Claire, en crêpe Chardon-Marché de rayonne Avisco et acétate Celanese. Capuche en filet blanc avec des nœuds en satin noir clipsés sur le dessus Par Lilly Daché. Sandales noires à bride, Newton Elkin.

Photo Richard Rutledge vogue archive

[chicinsilk]

US Vogue July 1957

Mary Jane Russell wears a black crepe evening dress with exposed back marked by bows. In front, the neckline is round, gathered. By Rembrandt, in Bloomsburg fabric (Avisco rayon and acetate). Rhinestone bracelet by Weiss, at Bergdorf Goodman.

Mary Jane Russell porte une robe de soirée en crêpe noir avec dos exposé marqué par des nœuds. Devant, le décolleté est rond, froncé. Par Rembrandt, en tissu Bloomsburg (rayonne Avisco et acétate). Bracelet en strass de Weiss, chez Bergdorf Goodman.

Photo Richard Rutledge vogue archive

[chicinsilk]

US Vogue May 1, 1956

Anne St. Marie wears a high-waisted evening ensemble, coral bodice and faux-linen cotton and rayon-blend coat from Avisco; skirt in silky white cotton with coral polka dots (both of these Fuller fabrics). By Claire McCardell. Earrings: Lilly Dache. Lipstick "5" John Robert Powers.

Anne St. Marie porte un ensemble de soirée taille haute, corsage corail et manteau en coton imitation lin et mélange de rayonne Avisco ; jupe en coton soyeux blanc à pois corail (ces deux tissus Fuller). Par Claire McCardell. Boucles d'oreilles : Lilly Dache. Rouge à lèvres "5" John Robert Powers.

Photo Irving Penn vogue archive

[chicinsilk]

Harper's Bazaar February 1958

Anne St. Marie wears an amber brown cotton and silk dress. By Oleg Cassini, in Chardon blend of Avisco rayon, cotton and silk. Dior hat - New York.

Anne St. Marie porte une robe coton et soie marron ambré. Par Oleg Cassini, dans le mélange Chardon de rayonne Avisco, de coton et de soie. Chapeau Dior- New York.

Photo Tom Palumbo

[chicinsilk]

US Vogue July 1960

Maggie (Margaret) Brown wears a shirt dress. a narrow leather belt hugs the waist. Mark of distinction: four large buttons. By David Levine, of Avisco rayon and Celanese acetate crepe (Onondaga fabric). Rhinestone bracelet by Albert Weiss.

Maggie (Margaret) Brown porte une robe chemisier. une étroite ceinture en cuir enserre la taille. Marque de distinction : quatre gros boutons. Par David Levine, de rayonne Avisco et crêpe d'acétate Celanese (tissu Onondaga). Bracelet en strass d'Albert Weiss.

Photo Irving Penn vogue archive

[chicinsilk]

US Vogue August 15, 1963

On the left, a model wears an evening dress with an Empire neckline, narrow like an Ondine; all black, with a velvet ribbon at the waist under the chest, from the sleeves to the wrists. Worn with hair up under a scarf paved with sequins. By Mademoiselle Ricci, in Celanese acetate and Avisco rayon (Martin fabric). Scarf by Echo. On the right, model in a navy blue velvet dress encrusted with the blackest shimmering jet beads. By Nat Kaplan, with his own velvet stole. In Du Pont nylon (Martin fabric).

À gauche, un modèle porte une robe de soirée au décoletté Empire, étroit comme une Ondine ; tout noir, avec la taille un ruban de velours sous la poitrine, des manches jusqu'aux poignets. Porté avec les cheveux relevés sous une écharpe pavée de paillettes. Par Mademoiselle Ricci, en acétate Celanese et rayonne Avisco (tissu de Martin). Écharpe par Echo. À droite, un modèle en robe en velours bleu marine incrustée de perles de jais scintillantes les plus noires. Par Nat Kaplan, avec sa propre étole en velours. En nylon Du Pont (tissu de Martin).

Photo Horst P. Horst vogue archive

[chicinsilk]

US Vogue August 15, 1963

Federico Fellini and Marcello Mastroianni fascinated by a girl (Jean Shrimpton) in a black velvet dress, short, falling freely in the back with a touch of waist sewn high under the chest on the front; bare shoulders, spaghetti straps. By Miss Ricci. Made from Celanese acetate and Avisco rayon; Martin fabric. Black velvet hood splashed with jet; by Adolfo.

Federico Fellini et Marcello Mastroianni fascinés par une fille (Jean Shrimpton) en robe de velours noir, courte, tombant librement dans le dos avec une touche de taille cousue haut sous la poitrine sur le devant ; épaules nues, bretelles spaghetti. Par Mademoiselle Ricci. En acétate de Celanese et rayonne Avisco ; tissu de Martin. Cagoule en velours noir éclaboussé de jais ; par Adolfo.

Photo David Bailey vogue archive

[chicinsilk]

US Vogue January 1973

Lauren Hutton wears a black and white crepe de chine dress with ruffled ends and a soft bow tie. The pretty way to wear it like Lauren does here with a camellia at the neck. By Morty Sussman for Mollie Parnis Boutique. In Celanese acetate and Avisco rayon (Fisher & Gentile fabric). Pale, sheer tights by Burlington, black and white spectator pumps. By Palizzio. Hairstyle Ara Gallant.

Lauren Hutton porte une robe en crêpe de Chine noir et blanc aux extrémités volantées avec un nœud papillon tout doux. La jolie façon de la porter comme Lauren le fait ici avec un camélia au niveau du cou. Par Morty Sussman pour Mollie Parnis Boutique. En acétate Celanese et rayonne Avisco (tissu Fisher & Gentile). Collants pâles et transparents par Burlington, escarpins noirs et blancs. Par Palizzio. Coiffure Ara Gallant.

Photo Richard Avedon vogue archive

[chicinsilk]

US Vogue April 1, 1961

Anne St. Marie in a beige crepe dress. The bodice is slightly blouse above a skirt spill. By Herbert Sondheim, of Onondaga fabric crepe, Celanese acetate and Avisco rayon. Meyers Manufactures gloves.

Anne St. Marie dans une robe en crêpe beige. Le corsage est légèrement chemisier au-dessus d'un déversement de jupe. Par Herbert Sondheim, de crêpe de tissu Onondaga d'acétate Celanese et de rayonne Avisco. Meyers Fabrique des gants.

Photo Tom Palumbo vogue archive

[chicinsilk]

US Vogue December 1953 ❤️❤️❤️❤️❤️

These tiny tawny lily of the valley, on a rayon dress with a star-shaped neckline, her brown linen sleeveless jacket lined with the fleur-de-lys print. Eisenberg costume (the dress, a Fran-Tex linen fabric from Avisco rayon) and gilt Napier jewelry. Beauty note: lipstick and nail polish, both in a cool shade of flame: “Orange Spice” by Peggy Sage.

Ces minuscules muguet fauves, sur une robe en rayonne au décolleté en pointe d'étoile, sa veste sans manches en lin marron doublée de l'imprimé fleur de lys. Costume d'Eisenberg (la robe, un tissu en lin de Fran-Tex de la rayonne Avisco) et bijoux Napier dorés. Note beauté: le rouge à lèvres et le vernis à ongles, tous deux dans une teinte fraîche de flamme : « Orange Spice » de Peggy Sage.

Model/Modèle: Jean Patchett Photo Clifford Coffin vogue archive

[chicinsilk]

US Vogue November 15, 1958 ❤️❤️❤️❤️❤️

Ivy Nicholson in an emerald green dressing gown, high waisted, full skirt. This, in William Rose fabric of Avisco silk and rayon. Andrew Geller shoes.

Ivy Nicholson en robe de chambre vert émeraude, taille haute, jupe ample. Ceci, en tissu William Rose de soie et rayonne Avisco. Chaussures Andrew Geller.

Photo Louise Dahl-Wolfe vogue archive

colorisé par/colorized by: palette.fm