#sewing thread manufacturing

[newbusinessideas]

How to Start a Business with Yarn Twisting Machine

🎥 Want to spin yarn into a business? Here's your chance! 🧶 Discover the step-by-step guide to launching a small-scale yarn twisting business #yarntwisting #sewingthread #manufacturingbusinessideas #businessideas

In recent years, the textile and garment industry has witnessed exponential growth, making it an ideal landscape for aspiring entrepreneurs to venture into related businesses. One such lucrative avenue is the yarn twisting business. As far as yarn is concerned, it is made from two strands or more than two strands. We all know that sewing thread is used for sewing in needles and sewing machines.…

[depoteka]

i need to create/do something with my own hands regularly or else i go a bit crazy

[chemicalbrothers212]

Sewing Thread Lubricant Manufacturer India | 9041070303

Fabric strength is derived from its thread, and the strength of the thread hinges on the quality of its lubricant. Chemical Brothers is the preferred choice for thread lubricants, earning us the reputation as the best sewing thread lubricant manufacturers in India. We are premium suppliers of various chemicals related to the cosmetic and textile industries, including pre-treatment chemicals, printing auxiliaries, dyeing auxiliaries, and more. Our extensive range of sewing thread lubricants is widely distributed across India and internationally. Sewing Thread Lubricant Manufacturer India

Silicon-Based Thread Lubricant

Silicon-based thread lubricants offer exceptionally low friction for both spun cotton and polyester threads. They are cost-effective and durable compared to other lubricants. These lubricants enhance the surface slip and heat resistance of sewing threads, allowing them to be quickly wound into cones and wrapped without microbial activity. Consistent results in various textile industries have made silicone-based sewing thread lubricants a preferred choice. Chemical Brothers consistently ranks at the top of the list of sewing thread lubricant manufacturers in India.

Features of Silicon-Based Thread Lubricant:

Reduces the coefficient of friction on the thread.

Excellent heat stability.

Uniform pick-up over the thread surface.

Great abrasion resistance.

Ideal for high-speed sewing lines.

Suitable for use on colored items.

Reduces hairiness and improves gloss.

Requires minimal cleaning when applied with high-speed winders.

More cost-efficient and productive than other lubricants.

Industrial-Ready Sewing Thread Lubricants

Sewing thread lubricants are essential raw materials for thread manufacturers. Our lubricants are unmatched in quality, providing an ultra-smooth finished surface to fabrics. We are known for:

Timely delivery

Excellent customer support

Advanced manufacturing technologies

High color yield with minimal dye quantity

Smooth and adhesive auxiliaries

Superior dispersive quality

Quality-tested and approved products

Customizable volumes and bulk delivery

High-quality chemicals for various home and personal care industries

Beyond thread lubricants, we offer specialized synthetic chemicals, coloring assistants, and raw materials for cosmetics. We also provide a wide range of textile printing inks, coloring auxiliaries, and finishing agents. Our products enhance the appearance and durability of textiles and are suitable for all types of sewing threads. With extensive experience, we understand the needs of Indian textile manufacturers and tailor our products accordingly.

Why Choose Chemical Brothers?

As a trusted name in the industry, we are committed to providing quality thread lubricants and other chemical products at affordable prices. Our dedication to excellence and customer satisfaction has established us as esteemed sewing thread lubricant manufacturers in India. For any chemical requirements, feel free to contact us or visit our website to ensure you receive the best raw materials.

Experience the superior quality and reliability of Chemical Brothers for all your sewing thread lubricant needs.

[coatsgroup]

Coats Sets a New Standard with Gral EcoVerde AS for Apparel: Neat seam appearance for apparel sewing thread.

India, 9th August ’23: Coats, a prominent figure in thread and textile manufacturing on a global scale, is delighted to introduce the groundbreaking product Gral EcoVerde AS. Gral EcoVerde AS for Apparel is made from 100% recycled polyester and features low friction lubrication, excellent loop formation, and consistent stitch formation. These properties combine to produce a smooth, even seam that is both visually appealing and durable.

The low friction lubrication in Gral EcoVerde AS for Apparel helps to reduce the friction between the thread and the needle, which helps to prevent the thread from fraying or breaking. This results in a smooth, even seam that is less likely to unravel.

Gral EcoVerde AS for Apparel represents a breakthrough in sustainable threads for apparel manufacturing. It is designed to minimise environmental impact while upholding the highest quality standards. The thread is crafted using eco-friendly materials and processes, ensuring reduced water consumption, a lower carbon footprint, and decreased energy usage.

GRAL Ecoverde AS maintains the exceptional quality and reliability that Coats is renowned for. It is well-suited for diverse applications, including apparel sewing, offering consistent stitching and durability. Brands and manufacturers can seamlessly infuse sustainability into their products while leveraging the expertise and reputation of Coats.

Coats is committed to providing customers with sustainable sewing thread solutions. The thread exemplifies the company's ongoing commitment to advancing environmental practices, ensuring a more sustainable and responsible future for the textile sector. The company believe that this thread will help apparel manufacturers reduce their environmental impact and improve the quality of their products. To learn more about GRAL Ecoverde AS and its sustainable benefits, please visit the website’s product page. https://www.coats.com/en/products/threads/gral/gral-ecoverde-as-for-apparel

About the Author:

Coats is the world’s leading industrial thread company. They are headquartered in the UK, with a workforce of 17,000 in 50 countries across six continents around the world. Coats provide complementary and value-adding products, services and software solutions to the Apparel & Footwear industries. Coats apply innovative techniques to develop high technology Performance Materials threads, yarns and fabrics in areas such as Transportation, Telecoms and Energy, and Personal Protection.

[i-love-you-just-the-same]

sfw

Just thinking about Ghost and a crafty s/o.

 Like his masks are so obviously made by him and not mass manufactured by some Halloween store. What if he is on leave or at a craft store near base? Staring at a variety of different thread and needles and fabric…... it’s just so much for his little brain. Doesn’t know what’s the best or durable for his type of work. Has done it before, just not well enough to last long or well in the field. Tired of getting poked at by Soap for the little shitty sewing kit he keeps with him.

Lucky for him, you’re around the corner. Bubbly little thing dressed completely opposite of him, all rainbows and sparkly shit (anything with color is to this man. smh). You’re eyeing some multicolored embroidery floss for your latest cross stitch and happen to glance over at Ghost, with his personalized mask and black ensemble. Looming over you as you skitter around him like a lost kitten.

You peer at the variety of options with familiarity, moving to grab your chosen colors with grace. Ghost just watches as you peer out of the corner of your eye to see whether he’ll move to get his own. He doesn’t.

When you’re done, he hasn’t moved. You have what you need, but you’re unnerved by a massive man who has just stared at you. Quickly, you mutter something like “do you need some help?”

Ghost just stares, as you fidget and look anywhere but him. He thinks it’s endearing.

You move away from him just as he gives a little huff as confirmation, and motions with his hand to the display. You glance up at him.

“what color do you want?” begins a stilted conversation on recommendations for sewing or embroidery or whatever else Ghost’s little heart desires. By the end of it, he has two packs of sewing and embroidery needles (if only he actually knew the difference) and a good variety of different types of black thread.

He’s followed you to the register as you dump all your stuff out and listens to you ramble about a new cross stitch.  He sets his stuff beside yours and grabs your wrist as you go to pay for your things, sliding the cash across the counter to pay for your things.

Ghost looks over you contemplatively. Please, doll, you’ve given him enough interaction to play with for a few months. Let him do this for you. Of course, he only stares at you until you realize how futile this battle is.

Considerate little bird you are, thanking him as he carries your separate bags outside. A little hum of consideration as he follows you, tsking when you reach for your stuff. Don’t you understand he’s a feral dog coming home for the first time?

 Follows you to your door, listening to your idle chirps and nodding in confirmation or denial to your questions to him. Asks for his name when he gets you home. An odd crawl up his spine and a softly spoken “Simon” are his way of vows. Gets your number for future endeavors in the craft aisle before creeping back outside.

Sits on his bed later with the little needle and thread, mending a mask. Yeah. He’s keeping you.           

[balkanradfem]

"Growing flax to make linen was one of the oldest human activities in Europe, particularly in the Rhineland. Archeologists have found linen textiles among the settlements of Neolithic cultivators along the shores of Lake Neuchâtel in the Jura Mountains west of Bern, Switzerland. These were elaborate pieces: Stone Age clothmakers of the Swiss lakeshores sewed pierced fruit pits in a careful line into a fabric with woven stripes. The culture spread down the Rhine and into the lowland regions.

The Roman author Pliny observed in the first century AD that German women wove and wore linen sheets. By the ninth century flax had spread through Germany. By the sixteenth century, flax was produced in many parts of Europe, but the corridor from western Switzerland to the mouth of the Rhine contained the oldest region of large-scale commercial flax and linen production. In the late Middle Ages the linen of Germany was sold nearly everywhere in Europe, and Germany produced more linen than any other region in the world.

At this juncture, linen weavers became victims of an odd prejudice. “Better skinner than linen weaver,” ran one cryptic medieval German taunt. Another macabre popular saying had it that linen weavers were worse than those who “carried the ladders to the gallows.” The reason why linen weavers were slandered in this way, historians suspect, was that although linen weavers had professionalized and organized themselves into guilds, they had been unable to prevent homemade linen from getting onto the market. Guilds appeared across Europe between the twelfth and fifteenth centuries but many of the items they produced for exchange, like textiles and soap, were also produced at home right up through the nineteenth century. The intricate regulations of the guilds—determining who could join, how they would be trained, what goods they would produce, and how these could be exchanged—were mainly designed to distinguish guild work from this homely labor. That linen making continued to be carried out inside of households—a liability for guilds in general—lent a taint to the linen guild in particular.

In the seventeenth century, guilds came under pressure from a new, protocapitalist mode of production. Looking for cheaper cloth to sell on foreign markets, entrepreneurs cased the Central European countryside offering to pay cash to home producers for goods. Rural households became export manufacturing centers and a major source of competition with the guilds. These producers could undercut the prices of urban craftsmen because they could use the unregulated labor of their family members, and because their own agricultural production allowed them to sell their goods for less than their subsistence costs.

The uneasiness between guild and household production in the countryside erupted into open hostility. In the 1620s, linen guildsmen marched on villages, attacking competitors, and burning their looms. In February 1627 Zittau guild masters smashed looms and seized the yarn of home weavers in the villages of Oderwitz, Olbersdorf, and Herwigsdorf.

Guilds had long worked to keep homemade products from getting on the market. In their death throes, they hit upon a new and potent weapon: gender. Although women in medieval Europe wove at home for domestic consumption, many had also been guild artisans. Women were freely admitted as masters into

the earliest medieval guilds, and statutes from Silesia and the Oberlausitz show that women were master weavers. Thirteenth-century Paris had eighty mixed craft guilds of men and women and fifteen female-dominated guilds for such trades as gold thread, yarn, silk, and dress manufacturing. Up until the mid-seventeenth century, guilds had belittled home production because it was unregulated, nonprofessional, and competitive. In the mid-seventeenth century this work was identified as women’s work, and guildsmen unable to compete against cheaper household production tried to eject women from the market entirely. Single women were barred from independent participation in the guilds. Women were restricted to working as domestic servants, farmhands, spinners, knitters, embroiderers, hawkers, wet nurses. They lost ground even where the jobs had been traditionally their own, such as ale brewing and midwifery, by the end of the seventeenth century.

The wholesale ejection of women from the market during this period was achieved not only through guild statute, but through legal, literary, and cultural means. Throughout the sixteenth and seventeenth centuries women lost the legal right to conduct economic activity as femes soles. In France they were declared legal “imbeciles,” and lost the right to make contracts or represent themselves in court. In Italy, they began to appear in court less frequently to denounce abuses against them. In Germany, when middle-class women were widowed it became customary to appoint a tutor to manage their affairs. As the medieval historian Martha Howell writes, “Comedies and satires of this period…often portrayed market women and trades women as shrews, with characterizations that not only ridiculed or scolded them for taking on roles in market production but frequently even charged them with sexual aggression.” This was a period rich in literature about the correction of errant women: Shakespeare’s The Taming of the Shrew (1590–94), John Ford’s ’Tis Pity She’s a Whore (1629–33), Joseph Swetnam’s “The Araignment of Lewde, Idle, Froward, and Unconstant Women” (1615). Meanwhile, Protestant reformers and Counter-Reformation Catholics established doctrinally that women were inherently inferior to men.

This period, called the European Age of Reason, successfully banished women from the market and transformed them into the sweet and passive beings that emerged in Victorian literature. Women accused of being scolds were paraded in the streets wearing a new device called a “branks,” an iron muzzle that depressed the tongue. Prostitutes were subjected to fake drowning, whipped, and caged. Women convicted of adultery were sentenced to capital punishment.

As a cultural project, this was not merely recreational sadism. Rather, it was an ideological achievement that would have lasting and massive economic consequences. Political philosopher Silvia Federici has argued this expulsion was an intervention so massive, it ought to be included as one of a triptych of violent seizures, along with the Enclosure Acts and imperialism, that allowed capitalism to launch itself.

Part of why women resisted enclosure so fiercely was because they had the most to lose. The end of subsistence meant that households needed to rely on money rather than the production of agricultural goods like cloth, and women had successfully been excluded from ways to earn. As labor historian Alice Kessler-Harris has argued, “In pre-industrial societies, nearly everybody worked, and almost nobody worked for wages.” During the sixteenth and seventeenth centuries, monetary relations began to dominate economic life in Europe. Barred from most wage work just as the wage became essential, women were shunted into a position of chronic poverty and financial dependence. This was the dominant socioeconomic reality when the first modern factory, a cotton-spinning mill, opened in 1771 in Derbyshire, England, an event destined to upend still further the pattern of daily life."

- Sofi Thanhauser, Worn: A People's History of Clothing

[mayakern]

hey maya! i’m a big fan of your stuff and i have a growing collection of skirts and some pins of yours ^^ i was just wondering, the first skirt i have from you is a cotton blend, (the peony print) and all the others i’ve bought since then are synthetic. i really much preferred the cotton, even with some pilling after wear (though that’s likely on me for not following the wash instructions-) though the synthetic fabric is much lighter when i put things in the pockets the waistband droops, which is kind of disappointing.. anyway, tl;dr, i know you switched manufacturers, but why material?

i’m glad you like my work!

as i said this morning, the old manu skirts were a polyester jersey. this did mimic cotton jersey to a certain extent, but it was always polyester and this was always listed clearly on our store (pretending it was cotton would actually be illegal if we had done that).

you can also read that post to see why we made the switch.

additionally, different manufacturers have different materials they will and won’t work with based on their access and their standards. there are a lot of fabrics our factory won’t work with for either reason. for example, they refuse point blank to make or work with jeans material because it is so bad for the environment.

for your future edification, in general, if you see a garment that is made by a small business and uses that large amount of custom printed fabric and is priced at $50-60 and is claiming to be cotton, in all likelihood they are either lying about the material, they are using suspiciously cheap labor, they are taking an incredibly thin profit margin that isn’t sustainable for most businesses, or the material may contain harmful substances like lead or pfas in order to drive the price point down.

custom printed cotton made with ethical labor is incredibly expensive and custom printing is necessary to achieve our more unique hem design patterns. repeating patterns can be roll printed and this is cheaper but has a higher minimum order requirement and tbh i would still recommend using your best judgement to see where money has been saved in the production process:

does the garment use less fabric or fewer stitches?

are there raw hems?

if you pull on one thread in a seam, does the whole seam unravel?

does it have stretch material, which is harder to sew but fits more bodies, therefor requiring fewer returns?

does the garment require few or no specialty sewing techniques, like sewing elastic or buttons or gussets or darts? (these drive price up a LOT)

was the garment made in china, which does not require the business to pay the same import tariffs that are charged on garments imported from other countries?

does the manufacturer have any certifications for ethical labor, environmental impact, or quality/non-harmful materials?

all of these have a significant impact on a garment’s price

as for the skirt being a bit loose, i recommend using waist tighteners like these if you want a snugger fit.

anyway i’ve answered this question and ones similar to it many times in the past and we have specifically answered this like 3 times in the past 2 days, so this question can take a break—if not forever, then for a significant portion of time. hope this clears up some things for you!

[beyondthisdarkhouse]

Hey I just saw your beeswax post and Kim fascinated. What does thread conditioning mean? (If you don’t mind explaining, I know I could Google it but I enjoy listening to people talk about stuff that they enjoy)

I do like talking about sewing! Though lately I've been using my hands for it so much that they're sore for typing sometimes. I need to strengthen my arms so the ligaments stop bitching. >.>

There's an exploration in the last reblog here. Basically: Conditioners are substances you put onto thread to make it stronger and more manageable.

Sometimes that's done in the manufacturing process, like for the creation of hand-quilting thread. It's already stiffer and smoother than usual cotton thread. But even then, once I've got it on the needle, I pull the thread over a lump of wax to add a thin coating to it. This is hugely to get the thread to forget the tight curls it has learned on the spool, which make it likely to snarl and be a pain.

There's also a whole thing where like... most modern thread isn't made for handsewing. A hand-sewn seam has one length of thread, two if it's doubled back. A sewing machine has two threads, twined together in a way that's really strong. (Technically it's "couched", not sewn, which takes people a bit of work to understand sometimes.) Overlock machines use three or four or five threads to make a seam. All of this leans the balance of demand in mass-produced thread towards stuff that is thin and lightweight, won't create a seam that is too bulky, but not particularly strong or smooth. If you buy cheap thread, that's what you'll probably get. If I want thread in a very specific colour, polyester thread gives me more choices, but is much less nice to sew with.

(There's also a whole thing about polyester, a petroleum byproduct, being way cheaper and easier to produce than natural fibers like cotton, silk, linen, or wool.)

I'm guessing professionally manufactured thread conditioners avoid some of the pitfalls of my beeswax, which responds to me coating the thread too thickly by shedding wax along the fabric as I sew, in a way that kind of looks like dandruff. But meh, I can live with that.

[bloodsadx]

as for how i get my patches; i made/make (havent made any in a while) all of them myself using a 6 needle embroidery machine. more needles = more concurrent colors the machine can easily swap through during the patch production. i bought special embroidery software that came with video guides after attending a workshop with the software developer and trying to use free open source embroidery software. the process is essentially the same as making vector art but with more attention paid to layering and then tooling around with things like fabric, thread, and types of stitches. i had experience with hand embroidery and also with hand sewing / using sewing machines and my partner at the time and i were very interested in the idea of making elaborate embroidery. it is in many ways similar in concept / process to screen printing which i have ample experience in, so it did not take me long to pick up and i had all the tools / access i needed to do lots of easy and fun designs. i was able to buy the machine by splitting the cost with someone else and using money i had gotten from my printing business/savings. i honestly recommend not buying a machine (even a small one) and instead out sourcing any embroidery you would want to local digitizers/embroidery companies if you want to do any machine embroidery slightly more complicated than one color directly onto a garment. it takes a long time, it’s very loud, the software required is expensive and nearly impossible to pirate (low demand), and the cost / time investment is very steep. however, i am a freak, and i also consider this my job (or part of it), so i have enjoyed it. there are a lot of people in your town or city, no matter where u are, who are already much more capable and set up to make patches for you than you would be. and they also would love to do it and it’s probably way cheaper than u think. (this also goes for screen printing). the one singular advantage to my set up is that i can make a lot of extremely singular one off patches at my own pace and at my own justified labor/time/monetary investment without having to communicate with anybody else. which is why i primarily think of myself as a artist and not necessarily a clothing embellisher/manufacturer; everything i do takes a lot of fucking time and research.

[malacandrax]

Had the enlightening thought that I could use my blog for blogging. I don't love splitting myself into separate marketable entities, so I'll probably post more craft stuff here. (I have a passing knowledge of So many hobbies it's a bit ridiculous- my most developed are probably doll customisation (wigs, faceups etc), sewing tiny clothes and maybe crochet.) I thought I would share some patch process from...2021? (ugh)

I don't know how many of you will have seen on twitter, but I've started making patches for my jacket after being deeply dissatisfied with what I could find online (I find that I need to know & search for a creator specifically or I just get mainstream patches... 'bee happy' etc)

The Billie patch (of the painting) was actually me going 'I wonder if posca works on fabric' and I tested it on the smallest scrap, which bit me in the ass, because I did that face with no planning or sketch and it came out perfect, no way I was going to do it that good again. SO i stitched it onto a bigger bit of black fabric, which is surprisingly unnoticeable in the end!

The rainbow strip was made because I didn't like how clean and manufactured store bought flag patches are, I wanted something undeniably gay, but a little more subtle and personal. I chose the colours to be a bit softer (I'm aware the dark brown should be black, I had no grey to pastel-ify it with, like I did the others) and I've seen little rainbow strip lapel pins before, so I sort of copied that in fabric form.

The next is Brian Molko in the 'Pure Morning' video, which I watched so much when I was younger. I put a screenshot through a binarization filter, and tried my best to copy it down. It was going really well, and then I foolishly placed it over my photo to see how it lined up (badly) and I went back in and completely ruined the likeness. While it wasn't a good copy, I still think it looked good before I went over it. SO I made another :'). I also sort of fixed up the first, because seeing it on the desk was embarrassing me.

I also added the embroidery in the colours I think of when I try and remember the video (his lips particularly were sort of coral coloured and the androgyny struck me hard as a teen)  The Eve Elloree was from an old gay magazine- the art director asking for assistance, I just thought it was really fucking cute haha Way more info on my long ass twitter thread.

The extremely badass black and white one is from superpose! And the fruits wizard is here (because im a fruit, har har)

Hopefully I can make more this year, I have too many hobbies and not enough wrist stamina!

[kaywavy]

transforming soffits reorganizing keys formalizing immersion joints justifying kick extractors advising aggregates managing elbows recasting connectors achieving aluminum trowels officiating disks exhibiting absolute spigots progressing coil hydrants jerry-building reflectors informing casters inventing rubber hoists performing wrenches judging chalk adapters upgrading ignition paths

regrowing flashing recommending ratchets approving barriers sweeping impact fillers sewing mirrors detailing collectors enforcing measures distributing systems presenting plugs interwinding registers piloting ash diffusers gathering cranks supplying eave pockets undertaking scroll stops accelerating straps designing fittings protecting diamond boilers logging downspouts correlating shingles uniting mallets qualifying electrostatic lifts sharing clamps obtaining circular fluids ranking foundation gauges sensing miter brackets originating space networks translating drills regulating guards selecting gable padding utilizing pellet dowels reconciling artifacts altering pulleys shedding space filters determining vents representing mortar remaking flash rakers supporting funnels typecasting rotary chocks expressing junctures resetting auxiliary vises professing strip treads inlaying matter trowels questioning drivers forming edge fittings sketching blanks overshooting spark breakers rewriting controls playing tunnels inventorying buttons enduring joint handles effecting ratchet bibbs unwinding couplings forsaking vapor conduits defining sockets calculating heaters raising grids administering tiles measuring resources installing ignition remotes extracting corners manufacturing ventilators delegating consoles treating mounting stones enacting jig deflectors intensifying alleys improvising cargo pinpointing bobs prescribing arc masonry structuring metal chucks symbolizing lathes activating plumb kits adapting coatings fixing channels expediting cordage planning compressors enlisting hangers restructuring keyhole augers shearing ridge hardware collecting reciprocating bolts maintaining corrugated dimmers whetting hole collars conducting mandrels comparing assets compiling sealants completing paths composing equivocation wheels computing dampers conceiving electrostatic treatment ordering cotter grates organizing ties orienting ladders exceeding materials targeting thermocouples demonstrating emery stock expanding latch bases training wardrobe adhesives overcomming[sic] fasteners streamlining storm anchors navigating springs perfecting turnbuckles verifying gate pegs arbitrating arithmetic lifts negotiating outlets normalizing strips building surface foggers checking key torches knitting grinders mowing planers offsetting stencils acquiring bulbs adopting rivets observing avenues ascertaining coaxial grommets slinging wing winches instituting circuit generators instructing wicks integrating pry shutters interpreting immersion lumber clarifying coils classifying wood bits closing cogs cataloging matter strips charting holders conceptualizing push terminals stimulating supports overthrowing shaft spacers quick-freezing connectors unbinding ground hooks analyzing eyes anticipating gateways controlling proposition rollers converting power angles coordinating staples correcting benders counseling joist gaskets recording gutter pipes recruiting drains rehabilitating rafter tubes reinforcing washers reporting guard valves naming freize sprues nominating rings noting straps doubling nailers drafting circuit hoses dramatizing flanges splitting framing compounds refitting stems interweaving patch unions placing sillcocks sorting slot threads securing mode cutters diverting catharsis plates procuring load thresholds transferring syllogism twine directing switch nuts referring time spools diagnosing knobs discovering locks dispensing hinges displaying hasps resending arc binders retreading grooves retrofitting aesthetics portals seeking stocks shrinking wormholes assembling blocks assessing divers attaining lug boxes auditing nescience passages conserving strikes constructing braces contracting saw catches serving installation irons recognizing fluxes consolidating fuse calipers mapping shims reviewing chop groovers scheduling lag drives simplifying hoists engineering levels enhancing tack hollows establishing finishing blocks

[coatsgroup]

Coats Signal Soft: Sewing and Embroidery Thread for Fashion Applications

India, Aug ’23: Coats, a global leader in thread and textile manufacturing, is proud to introduce Coats Signal Soft, a sewing and embroidery thread for applications in fashion. With a distinctive retro-reflective quality, this thread has the ability to reflect light back to its source upon exposure. This exceptional feature guarantees visibility, even in low-light conditions.

Retro-reflective materials are often worn by pedestrians, cyclists and workers who need to be visible in dark or low-light conditions. Coats Signal Soft offers enhanced visibility to products made out of it, and the thread has good sewability. These threads can be used to make fashionable items. The thread’s finer ticket size, soft texture and pliability lend themselves to ornamental embroidery on clothing materials, contributing to the artistic ingenuity of garment design.

Features & Benefits:

Smooth sewing: The thread's lubricated finish ensures seamless stitching.

Day-to-night visibility: In daylight, the thread appears silver, but it turns white when light shines on it in lowly lit conditions, enhancing visibility.

Versatile for decorative sewing: The fine size and softness of the thread make it ideal for ornamental embroidery on clothing materials.

High reflectivity: When light hits the thread, it becomes highly visible and reflects a significant amount of light.

Meets safety standards:  The thread meets the STANDARD 100 by OEKO-TEX®, CLASS I, ensuring its quality and safety.

Coats Signal Soft thread is perfect for high-visibility fashion applications. However, it's not suitable for safety clothing that needs to meet specific reflectivity standards.

For more information about Coats' Signal Soft-sewing and embroidery thread for fashion applications, please visit - https://www.coats.com/en/products/threads/signal/signal-soft.

About the Author:

Coats is the world’s leading industrial thread company. They are headquartered in the UK, with a workforce of 17,000 in 50 countries across six continents around the world. Coats provide complementary and value-adding products, services and software solutions to the Apparel & Footwear industries. Coats apply innovative techniques to develop high technology Performance Materials threads, yarns and fabrics in areas such as Transportation, Telecoms and Energy, and Personal Protection.

[vinceaddams]

Top 5 WORST fabrics

1. that fuckign. synthetic knit that some of the sport coats at work are made of. I don't know what it's called but I hate it. It's polyester with barely any stretch and is. so. DENSE. Worst thing to alter. Damn near impossible to get a pin or a hand sewing needle through, and sometimes it makes the machine skip stitches. A lot of the sport coats are half lined, and if you bring me one of those ones with the side seams pinned to take in, I will just take in the centre back seam instead because I DO NOT want to hand sew the lining back down to both entire side seams on that horrible impenetrable bullshit fabric. Sometimes it has a woven looking pattern printed on it, as if to mock me.

Some of the shirts at work are made of a slightly softer version of the same stuff, and I once tried to mend a small hole in one of them using a zigzag stitch and it shredded the fabric and ruined the shirt. They had to go find the customer an identical replacement shirt, because the stupid fabric couldn't hold up to a few tightly spaced zig zags. Bullshit, bullshit garbage fabric. I hate it, I hate it I hate it I hate it. Everyone should stop manufacturing it immediately. Stop making it and destroy the formulas so nobody can ever make it again. It's not even a particularly bad texture to touch, relatively speaking, it's just a nightmare to sew.

2. Faux fur. To be fair, there is some decently nice faux fur out there, but most of it is just such an icky plastic-y texture and it sheds so much. So so much, and then you're worried about breathing in floating fuzzies of plastic. And it can also be really hard to get a pin or needle through the base fabric, depending on what kind it is. I remember I had some scraps of white faux fur that I used for craft projects as a small child, and it was like that, and there was some kind of finishing (presumably to help glue the hairs in place) that made the back of the fabric all crusty. It's the kind of thing that's awful to touch if your hand is even the slightest bit sweaty. I dislike polyester fleece for the same reason. No fleece sheets or pyjamas for me, ick!

3. Really loosely woven boucle. Who would invent a fabric that frays so gotdamn much? Look at this. (image source) Awful. Falls apart if you sneeze at it. Unpleasant texture, and not even nice to look at. (Yes I chose an ugly picture on purpose, but it's not a look I like even if it is in nice colours.)

Where's your structural integrity?? You can have weird lumpy fabric and still weave it decently tight! Especially if it's wool and you felt it a little bit. I shortened a skirt for a co-worker and it was made of similar stuff, and I was worried I'd damage it because it was so loose and shifty. What happens if you walk by a tree or something and snag a thread? Whole thread comes out and deforms a big patch of fabric? Well that's what you get for making all your threads just acquaintances instead of best friends. (I hate poly chiffon for similar reasons.)

4. Poly/cotton blends, because they feel like a betrayal. You could have been 100% cotton but you aren't :( Could have been a nice comfy shirt or nightgown that could eventually be used for firestarters once it's too worn out, but no, can't use blends for kindling because the polyester part melts into nasty little black plastic blobs. Not like 100% cotton or linen, which burns nicely and leaves basically no ash. And I hate pilling, horrible hell texture, and synthetics tend to pill way more.

5. Anything with glitter on it, because it's contagious. Small sequins are also bad (see blog post linked in poly chiffon line) but at least they're sewn on and only come off where you cut them. I think we as a species have moved past the need to glue glitter onto fabric, because it does not stay glued. We have foil print, and metallic ink, and beading and rhinestones and metallic thread and all kinds of other ways to do the sparklyshiny. No more sticking glitter on things that might go in the wash.

Generally speaking I dislike synthetics and Bad textures, though everyone's opinion of bad textures is different. I'm also not fond of stretch knit, but it has its uses.

[mayakern]

Hello 👋 just wondering if theres the differences between the old and new manufacturers listed anywhere? I thought i read in an ask a while back that they were cooler? So if it talks about the fabric or saturation etc and compares the two id love to see it

i talked about this pretty extensively a couple months ago and i do not have the spoons to go hunt for it/retype the whole thing, so i’ll give you the cliffs notes (which are already plenty long)

the printed skirts use a lighter weight fabric that is nice and cool in summer

higher quality/more consistent fabric that won’t have the same pilling issue the old fabric sometimes had

new manu does their own wash tests before sending us anything, meaning the above problem is even less of an issue because they’re already checking for it

new manu does much more extensive quality checking on their end, enabling us to streamline things on our end

printed fabric is now a poly/elastic blend, old fabric was a poly/spandex blend

printed fabric is less staticky/clingy than previous

printed fabric is shinier than the previous midi fabric, which some people like and some don’t

solid color fabric is ecovero viscose, which is made with ethically sourced tree pulp and is biodegradable and compostable in your home compost. it’s also really nice and soft

higher quality and more consistent sewing (this means tighter seams, less loose threads, etc.)

printed skirts are now printed using sublimation, which prints at 300dpi instead of 100dpi, meaning the printing is now much crisper. i don’t have hard data on the differences in the color gamuts, but i find the new manu’s color range much better, especially in the blues and purples which can be very difficult to print satisfactorily.

new factory is certified up the entire supply chain by the Supplier Ethical Data Exchange (certifies ethical labor practices) and OEKO-TEX Standard 100 (certifies responsible textile production, i.e. ensuring there are no harmful substances present). for those of you who know anything about supply chains you know this is a Big Deal because getting that information on things like buttons and zippers, which are often made in labor camps, is incredibly difficult

because of everything above and because our new factory is in turkey, which doesn’t have the same generous import situation as china, our cost per unit has increased dramatically and we’ve eaten as much of that as we feasibly can, but unfortunately that means we make less money per skirt sale than we used to. but between wanting to keep costs down for y’all and all the other benefits that come with making this change, i think it’s worth it.

[20dollarlolita]

Hey Pink,

so I went to a flea market today and scored a old singer machine for 10€! Now I'd like to know when it was made and probably where but I'm completely lost, maybe you could shed a little light on it?

I cleaned the serial number plate as best I could. I suppose it reads: G67875 (2 or Z, I cannot tell)

Thank you so much!

It's a Model 15!

Here's some more information on the Model 15. Note that they're calling theirs the "15K", but the K just indicates that it was made in Scotland. Yours is likely a 15 and not a 15k, unless it says it was made in Great Brittan in the text along the top.

If you're ever unsure about the date on a Singer machine, I recommend this taxonomic key, and the Ismacs serial number database.

We can tell from the bobbin threading path on the front that this is a very early Model 15. According to the serial number, it's likely one of a lot of 50,000 made in January of 1910.

I believe the decal style on that is called Tiffany or Gingerbread. The first thing that I noticed about that is the absolutely exceptional state of those decals. Usually, machines of this age have a lot of the decal work worn off. If you want to clean them, be careful about damaging them.

The best advice I've found for cleaning and restoring old machines is from Doug at treadleon.net. Here's an excerpt from one of his articles:

Now let's talk about appearance. Some folks like to see an old machine shine like new. If the basic decoration, paint and decals, is good enough, that can be done. Most machines we find in sales aren't quite that good, or may actually be very bad. I like to let old machines show their age and usefulness. To clean a machine's surface, I use first a gentle mix of diluted dish soap and water, rubbing small areas at a time with a soft cloth. Often there is old dried oil or shellac on the surface. The earlier cleaning with kerosene may have loosened a lot of that up and it will rub off, too. Often it can be scraped off with a fingernail. Don't use hard scrapers, you'll scratch the enamel. Once I have the plain dirt off, I wipe with sewing machine oil several times over a period of days, then wipe off all the oil and wax. I use Turtle Wax. Other folks have had good luck with ArmorAll.

There are folks who favor various cleaning compounds, such as Simple Green, 409, Windex, etc. Great care must be exercised here. Many of the chemicals in these compounds, especially ammonia, will destroy the gold in the decals, leaving you with silver decals, or no decals. Since the decal content and manufacturing varied over the years and between manufacturers, the fact that a product did a great job on one machine does not mean it will not damage another. Always start by cleaning a small area in back of the pillar to see what is going to happen.

I've also found that liquid wrench spray penetrating oil can get through some really nasty dirt on the machines and it pretty decal-safe. It's become my main "clean now or else" tool for when dish soap is not doing the job fast enough.

One really cool fact about the Model 15 is that any time you're looking at sewing machine parts and you see the number 15, it's likely because it was a part first used in this machine. They use our standard needle, which is the needle family 15x1. If you go out and buy a standard sewing machine needle today, it will be a 15x1. When you go buy the standard bobbin for most Singer/Janome/Baby Lock/Brother/Bernette machines (plus some Pfaffs and Vikings), it's called the Class 15 bobbin. That's because the first machine to use these needles and these bobbins was the Singer Model 15. It's that influential.

The Model 15 sits flat on a table even without a bottom case, though you can buy some really nice bottom case reproductions on etsy or get a generic flatbed machine case from SewingPartsOnline if you do want a base for it. Note that if you use a generic case, you'll have to take the hand crank off when you store it with the lid on it. That said, I have my hand crank machine in a cheap generic flat bed case and it's always quite an enjoyment when someone opens it up and expects a mid-1990's machine and SURPRISE! It's an antique!!

Anyway, excellent find! The Model 15 was hugely influential. Pretty much any time that you find a modern sewing machine thing with the number 15 on it, it's because the item was first used on the Model 15. The needle family that all non-industrial sewing machines use today is the 15x1 needle family. That needle was first used on the Model 15. If you buy bobbins for almost any Janome/Brother/Baby Lock/Bernette and many Pfaffs and Vikings, it's called the Class 15 bobbin. That bobbin style was made for the Model 15 machine. I just think it's so cool that this machine became the standard so effectively that you can just go down to your local big box craft store and buy needles and bobbins for it!

PS if anyone wants a sewing-related rabbit hole to go down, Japanese Model 15 clones that are actually improvements on the Model 15 is a good one to check out. It was cloned long after Singer discontinued the Model 15.

[childoflamb]

do you own a sewing machine, right? may i ask what you do when the sewing machine is giving problems? any advice please, thankuu♡

Yes. Hmm my machine is quite nice to me, usually. But if there's a problem that isn't solved by re-threading, I usually take it apart and give it a little clean (get rid of fluff and bits of thread stuck inside). I don't do half of the maintenance I should be doing so it's a miracle the machine doesn't rage against me. I do need to buy some oil for it, it's starting to sound a bit sad.. Remember to swap needles regularly! I know it sucks, but a blunt needle is no good. Anyway.. if there's a specific problem that reoccurs, read the manual or contact the manufacturers.