#woven vs non-woven | Explore Tumblr posts and blogs

genderkoolaid · 2 years ago

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hey! if you have the spoons, would you happen to have any posts/anecdotes refuting this thread? https://www.tumblr.com/neondyke/719263498717233152/nonhoration?source=share

so. one of my big problems with how we talk about TERFs is the sort of conspiratorial energy some people have towards them- not in that TERFs don't lie about their beliefs, but the idea that all radical feminists are part of this huge conspiracy where none of them actually believe any of what they say. The idea that no TERF actually, genuinely cares about women, or gender non-conforming people- or that none of them hate men.

Just because TERFism is misogynistic, harmful to GNC people, and often allies with conservative men, does not mean every TERF hates other women, GNC people, and likes men. Its vital to be critical of what TERFs say vs what their actions say- but we do ourselves and them a disservice by shoving our fingers in our ears and essentially saying that no TERF can be genuine, and I actually know what they really believe in their hearts. This is especially important when you aren't interacting with high-level TERFs (especially those making bank off public appearances & books & shit), but like. regular smegular everyday women who got radicalized, or people who are on the verge of being radicalized and are put-off by people who seem to be incapable of seeing TERFs as having genuine beliefs.

I say that all because the idea that TERFs aren't misandrists, that they don't really hate men, is just straight-up ridiculous. It assumes that radical feminism was born exclusively as a reaction to trans women, that none of its theorists or activists were genuinely trying to apply Marxist analysis to gender/sex dynamics and create a better world for women. Which ignores other parts of radical feminism, like their anti-sex work rhetoric/whorephobia. (If you have access to JSTOR, I recommend reading "Radical Feminism and Feminist Radicalism" by Ellen Willis, a former radfem; it dives into the problems with 60s radical feminism from an inside perspective).

I absolutely think TERF hatred for trans women is not exclusively a result of their misandry. This is because all transphobia is systematic, and everyone born and raised in transphobic society has transphobia woven into their thinking. So if you are a cis woman, probably one who has had traumatic experiences with misogyny coming from cis men- probably one with some interest in leftism, who is annoyed by liberal #girlboss feminism which feels lackluster, who is envious of the subversive, direct-action, "tear the system down" feminism of the past- and you have an unexamined, ingrained bias against trans people, well. TERFism will provide explanation and affirmation for your trauma and the promise of the radical feminist action of your dreams to allow you to lash out at your oppressors with the logic of the guillotine. Your unexamined bias against trans women will mean you don't see their transmisogyny as unreasonable, and even if you never really thought about trans women before, its gonna be real easy for you to accept them as a threat to Real Women.

But to assume that every time a TERF says "men" or "male," she means "trans woman," is just ignorant. TERFs are surrounded by cis men, because they live in the same society as us. They see cis men acting misogynistic, many of them have been personally hurt by cis men, they very much mean "cis men" when they say things like "all men should be castrated" or "all male babies should be aborted"- how exactly can you talk about males as a sex and never refer to cis men? When they talk about how using dildos or any sort of penetrative sex is patriarchal and Bad, that's not because they hate trans women, its because they see anything that could be associated with maleness as bad.

Here's a quote from Sylvia Riveria's very important work "Queens in Exile, The Forgotten Ones":

"Oh, yeah, we mixed with lesbians. We always got along back then. All the division between lesbian women and queens came after 1974 when Jean O'Leary and the radical lesbians came up. The radicals did not accept us or masculine-looking women who dressed like men. And those lesbian women might not even have been trans."

TERF hatred for transmasculinity goes back far before ROGD and the idea of transmasculinity as a social disease affecting "innocent young girls." Here's a quote from Leslie Feinberg's Transgender Warriors:

"A view that the primary division of society is between women and men leads some women to fear that transsexual women are men in sheep's clothing coming across their border, or that female-to-male transsexuals are going over to the enemy, or that I look the same as the enemy."

If TERFs have no real hatred for men or masculinity, why did/do they attack butches & transmascs? Why, before ROGD was the trendy way to attack transmasculinity, did they specifically attack us for being too masculine and therefore imitating the oppressor? The idea that trans women are the only ones blamed by TERFs for ROGD is also false- adult trans men, especially those with any public influence, are frequently blamed for "preying" on young "girls." (Also, fun fact: that last quoted paragraph ends with: "Trans people of all sexes and genders are not oppressors: they, like women, rank among the oppressed.")

Lastly, I feel like we- all trans people- have an issue of trying to match our genders & the way our genders do impact how we are treated, with the way our sexual/gendered misgendering also impacts how we are treated. For example, I am often frustrated by trans men who are resistant to talking about how trans men face misogyny because "it feels like misgendering." I don't think we can really deal with transphobia unless we cope with the fact that we are trans people- we are socially placed between genders and punished for that, and that means that we will be attacked because of our relationship to our gender assigned at birth (although not exclusively). See this post for more of my thoughts on that.

Obligatory "please don't harass any of the people in the screenshot above, just block them & move on" notice

#m.#ask box #transandrophobia #transmisandry #anti transmasculinity

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twig-tea · 1 year ago

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Grand Guignol

Wanted to write down my thoughts on this movie because it was AWESOME and I don't want to forget lol. Non-spoilery thoughts above the cut and spoilers below it.

First of all, the colouring of this film is gorgeous. Everything is in dull greys and navy blues and cream, except for the red, and the red is throughout. There's red roses, red lighting, red ties, red viscera, and so, so, so much blood. It makes for a really stunning watch, to see this heightened red spurt and colour the white clothing of the protagonists, and on their faces.

The cinematography is also a lot of fun. So many dirty shots, where the creepy decorations of this school sit in the foreground and the characters having a conversation are left blurred in the background. Quick, hard cuts, so it's not clear whether something was real or not.

And I love the tension being around what is real vs what is fake rather than jump scares. The way cinema and pranks and voyeurism is woven into this plot to make everything more confusing is so well done; it puts us in the same situation as the characters stuck in this school with no clear sense of what's happening or why.

Most of all this was just fun. It was a wild ride where gross, gory, discomforting, messy, and generally weird shit happened constantly lol and I really, really enjoyed the experience.

Cutting here because I couldn't help but spoil from here on out.

I also really love the subtext of the show re: queer as monstrous. There is a suggestion that at least two of these characters were sent to this school abandoned by their families in order to be sacrificed because they are gay, or queer in some sense. The other characters have stories about doing physical harm to those around them, but at the least for Kenta, it's implied that whatever is going on with him and dressing femme--i won't assume--is what got him sent here (this is early in the film so I'm not counting it as a spoiler).

I had to laugh at the excessive lube; Japan's lube game is always incredible. We never get a normal amount of lube in a Japanese BL, and I live for it.

Also really enjoyed the cannibalism subtext! Cannibalism is always such an interesting theme in horror because it's such a taboo. This felt very Rocky Horror-like with the constant viscera shots and the open questions on characters' faces about where it came from.

The message in this film was so fascinating. Normally we get the trope of 'you have to defeat yourself ' as a hero's journey to get past self-doubt in order to win. In this case, Itsuki tells us he was forced to participate in...it's not entirely clear, bullying and mutilation at the least. He seems traumatized by the experience, and it's not clear how much damage he did on his own. But by the end of the film, after the teacher gave him the gun and told him to defeat himself, he manages to move through whatever was holding him back, and he fully embraces doing violence to others. He kisses Teshio, when he was surprised by/recoils from the kiss from Kenta. He laughs, glories in, is freed by the way he mutilated Teshio's corpse, and flashes back to his memory of when he was "forced" to hurt his classmate in his old school, but this time he's similarly elated. He had some initial reaction to seeing Kenta in a dress and wig--Shinji wondered if he wanted to wear it himself--and after the cult dresses him in heels, a dress, and wig, he does not remove them even after he's free and limping in the heels to drag along that sledgehammer. In this case, the hero's journey is one to freedom from moral constraints, allowing in the monstrous--both murderous and queer--parts of Itsuki to overcome any fear or self-hate or physical limitations, and to be victorious. And then we get the final scene, with the uncertainty as to whether the entire film has been a play, whether the play is in Itsuki's mind, or whether it's a metaphor for the audience to represent what happens. I think the uncertainty is the point. The entire film has been messing with our ability to tell what's real and what's fake, and maybe in the end it doesn't matter. Itsuki is dead; whether metaphorically because he's mentally snapped, or literally because he's killed himself, or because the whole thing was a metaphor and he's embraced his weirdness and joined this weird club and found acceptance in this group that puts on horror plays...the Itsuki who was traumatized and terrified of himself is gone by the end of the film, he's defeated the enemy within. I loved that.

And there's something in this film about how it gets us to be interested in this weird friend group before it starts killing them off for the sake of... entertainment, a ritual, to free their parents of the embarrassment, it's not entirely clear which. But there's something implicit in the morality here that these characters are humanized before they're demonized, and that we are set up to see the ritual as cruel and the level of violence as undeserved. This part reminded me of Gang of Cherry; these kids are fucked up, and cruel, and weird, but don't deserve the even more fucked up and cruel situation they're in, which in turn makes them even more fucked up and cruel, until it's a twisted version of enlightenment, when all you are is cruel and fucked up, and delighting in the purity of the emotion.

Anyway that's way too much navel-gazing for what is essentially 1.5 hours of intentionally bad blood-spraying camp and actors who didn't kiss in their BLs kissing in this. Big fan.

If you want realism, sexiness (there is a sex scene but it is not what I would call sexy; it's intentionally discomforting/edged with tension), romance, or a happy ending in the traditional sense this is not for you. If you like campy horror, strategic cinematography, gratuitous gore, gratuitous tongues, being discomforted, psychological horror, and metaphors on metaphors, I think you'll enjoy.

#grand guignol #bl meta #i thought about this way too much #typed so i can stop thinking it #happy halloween everyone #gore #tw: gore #cw: gore

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whatkatiediduk · 1 year ago

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The Corselette vs The Merry Widow

Step into the glamorous world of 1950s lingerie, where two enchanting creations, the Corselette (known as the Body Briefer in the US) and the Merry Widow, reign supreme. At first glance, they may appear similar, but don't be fooled - they each have their own distinctive allure and purpose.

The Corselette: Sculpting Elegance

Picture a fusion of a longline bra and a girdle, seamlessly woven into a single garment. The Corselette was designed to sculpt your silhouette, creating a flawlessly smooth canvas beneath those figure-hugging outfits. In its vintage form, it was a challenge to put on – a pull-on style with a low back, which often compromised the bra fit. But fear not, our modern version boasts a higher back and a convenient hook-and-eye front fastening, ensuring an impeccable fit without the struggles of yesteryears. To add a touch of allure, we've woven an internal elastic waist tape for a subtle cinch, avoiding the tube-like silhouette of vintage corselettes. A staple under both daytime and evening dresses, the Corselette was the secret to 1950s elegance.

The Merry Widow: Cinch and Support

In the enchanting world of 1950s fashion, the Merry Widow was the epitome of timeless glamour. It's more than just a strapless bra; it's a waist cincher too. These exquisite pieces were the perfect complement to evening dresses, often adorned with off-shoulder designs and tightly cinched waists, flowing into full skirts. While the vintage version featured a non-stretch waist tape, we've added a touch of modern comfort with elastic tape. Versatility reigns in our rendition – we've equipped it with detachable shoulder straps and made the suspenders removable. No more fumbling at the back with hook-and-eye fastenings; we've moved them to the front for ease and convenience. And, just like the original, we've faithfully maintained the classic spiral steel boning.

#what katie did #vintage lingerie #what katie did uk #whatkatiedid #merry widow #corselette #body briefer

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physalian · 4 months ago

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9 Years Yearning: A Gay Fantasy Romance | Review

By @topazadine!

This was such a fun departure from my usual reads. A fantasy story with a war backdrop and child soldiers sets you up for an action-heavy drama with a romantic subplot, but so much of the details surrounding the greater conflict at large are the background. What’s left is a series of insights across nine years of a relationship and for what I thought would be a standard enemies/rivals to lovers ended up being so much more.

If you’re a fan of high fantasy, 9 Years Yearning drops you into the world immediately, serving up a steady stream of little immersive details and fantastical terms without heavy exposition dumps, letting the reader marinate and draw their own conclusions without everything being spelled out for them.

The character descriptions and names are fun, too, if not intentionally inspired by anime. It’s so distinct from the usual western-based British fantasy with standard features for the human characters. For example, the hair colors of the main duo fit the classic “blond/brunet” dichotomy, except it’s the inverse of green and red, which I thought was a nice touch paying homage to a very old trope without making anything too foreign to alienate readers who might have not read too much fantasy before this. While the names are just a touch outside something easily pronounceable, I leaned completely into it to embrace something unique and not “Americanized”.

As a writer and reader who adores fast pacing, the framing style of this already short story cuts out a lot of the fat that might be spent on superfluous fluff and redundant introspection, skipping ahead one year at a time per chapter and picking, what I think, are solid moments from their lives to focus on without leaving readers feeling like there’s a crucial deleted scene somewhere. The framing also means that the plot doesn’t rely on “if” something will happen but “how” without wasting time trying to fool the audience, which was fantastic to experience.

The main duo themselves, particularly early on, reminded me of Mike and Sully in Monsters University—which was such a cute movie! Their dynamic of the “shorter non-gifted student who has to work extremely hard to gain clout and recognition and who wants very badly to graduate with acclaim and the job of his dreams” vs “taller gifted entitled student who can succeed effortlessly and is all the teacher’s favorite and the ‘cool’ one everyone else looks up to and aspires to be, but also has his own demons to fight when having the world handed to you on a silver platter isn’t quite the blessing it looks like.” But, you know, gayer.

Despite having such fast pacing, little character nuances and behavioral ticks are packed in to make them feel like real people and not cardboard cutouts. It still flies by without feeling rushed, deliberate but not pedantic.

Nor is that to say that while the action is in the background, it’s not at all lacking. The variety of action scenes, from fistfights to bigger engagements, all perfectly stay their welcome if action isn’t your genre, and are vivid enough to hold your attention and not get lost if fantasy wartime is your bread and butter.

The poetry, too, the perfect amount and complexity that fits right in with the rest of the narrative. When I read that the sister would be a poet, I fully expected the prose to dance around the inclusion of any actual poems, but there’s a couple and they do feel like they were written by different people for different audiences and they were great, and not just there to be there. The whole concept of poetry is woven into the very lore of the world.

Uileac himself is not without flaws, and while they sure are frustrating, they’re realistic as he goes through his teenage years, fraught with teenage drama, making teenage mistakes. The story doesn’t waste pages on forced miscommunication or manufactured drama—the drama is realistic and makes sense when it takes place and is fitting for their characters.

—

I read the whole thing in just a couple hours. It’s a short, sweet read about two queers spending nine years pining, both assuming their feelings are unrequited, in a fantastical setting that gladly lets them have a happy ending presented to you in the very first chapter.

#book review #queer lit #queer books #support indie authors #indie author

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becauseimanicequeen · 11 months ago

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Who Will Survive vs Die in DFF

I thought I would make a post about my predictions of who’s going to survive vs die in the final episode of DFF.

I don’t know about you, but speculating about character deaths takes me back to GOT times, which were, mostly, glorious (except for some parts of the last season. But, ah well… moving on…)

First and foremost:

Let’s just start with a theory I have that I’ll base my predictions on.

To me, there is a constant theme of morals in DFF. The moral complexities of these characters and their actions (or lack thereof) are woven throughout the whole series. Whenever moral complexity gets this much space in a story, there’s (usually) a focus on both the flaws and mistakes and on redemption and taking responsibility throughout those stories.

Obviously, this is not a must and there’s always the possibility that one weighs heavier than the other. Considering that 99% of the characters are morally complex in DFF, there’s no way it’s balanced anyway. Someone is going to be more redeemable than the others and vice versa (it would be too flat and boring otherwise).

But it does make me wonder whether the characters who show remorse, take responsibility for their actions, or even redeem themselves in some way have a bigger likelihood of surviving the chaos at the house.

Por is an example of someone who didn’t redeem himself (since I don’t see how his one sentence about Keng using Non could’ve redeemed him from the way he treated Non himself) and so, he ended up dying.

I’ll be coming back to this theory throughout this post. But let’s get to the good stuff, starting with Non.

Non is alive and has a chance of surviving.

I’ve mentioned this in previous posts as well (like this one), but let me make a somewhat more serious and logical case for it here.

Like it or not, Non is the sun in the solar system that is DFF, and all the other characters revolve around him and what happened to him. Therefore, it doesn’t make sense that his death was so quick and easy. Not to mention, happening off-screen.

Could the writers have chosen to actually kill Non? Sure. But if that was their aim with this character, they would’ve shown him die rather than just showing him being in pain and coughing in some scenes before his supposed death. Showing him die would’ve given more emotional weight to the series, instead what we got was Non being carried off like a meaningless sack of potatoes.

You could argue that the lack of emotional weight of his death was purposeful if DFF is supposed to be a tragic story where everyone dies tragic and meaningless deaths. But I don’t feel like that’s what DFF is. (I’m sure the uncle on the scooter will forgive me for saying that. But he’s headless, so he can’t even think. Anyway…)

Non has definitely made mistakes in the past (getting involved with the group, opening the horse accounts, threatening the others when he was at the end of his rope, etc.) (this is not a post about whether or not Non was manipulated or forced into doing this by other people or by his circumstances, I’m merely summarizing some aspects of his past that could’ve gone differently if he’d made other choices) and now he’s taking responsibility for his shitty situation (even though he does blame Tee at the beginning, which is understandable).

Non is clearly working off his debt so that he can become free (given the note Tee found by Non’s body). Getting out of there was always his aim. And he needed to work off his debt to do that. So he took responsibility for his situation and tried to make it happen.

There’s no way Non is dead, and this is based solely on the fact that he took responsibility for his actions and situation (compared to Por who didn’t and is now dead).

Besides, that note Non had written clearly stated that he wasn’t a loser and would make it out of there (and I choose to take the contents of that note literally).

What really happened to Non, though? I’ve already written a bit about that in a short post about my thoughts on White being Non, which you can read if you want some serious (and some delulu) thoughts on this possibility.

And will Non still be alive at the end of all this? Well, that’s the question, isn’t it?

I think he’ll survive.

If he is White, like I speculated about in that post, and even if his choice to infiltrate the group was to get revenge on everyone, I still believe he will survive. Mainly because I don’t think he would go through all this to get his hands “dirty”.

Besides, based on how White is portrayed and his actions so far, I don’t necessarily think he would kill anyone. Obviously, he could’ve chosen to do something similar to Tan and Phee (getting the others to confess their sins) since White has also been a driving force in finding out what happened to Non, but his aim might’ve been for them to self-destruct instead of acting out the role of executioner himself. Perhaps he wanted to get them to a point where someone cracked and chose to come clean to the authorities, leading them to (hopefully) be properly tried for their sins.

Either way, all this is better than murder, right?

If Non isn’t White, however, but perhaps the masked ninth person at the house, and he was the one who lured Por out into the woods (and perhaps putting up that line that killed the uncle on the scooter) and then sat back and observed from the shadows, he might actually die in the end since one person (possibly two) died as a result of his actions.

But I feel like this outcome can be based on what Tan decides to do now that everyone is knocked out (perhaps burn the whole house down with all of them in it), and if Non never exposes himself and just decides to leave. Because, right now, there’s no immediate threat to the masked person (they all believe it’s just a curse/hallucination anyway).

But, Non is definitely not dead. I refuse to believe that.

After this long ramble, let’s move on…

White will survive.

As I mentioned before, I’ve written a short post about my thoughts on White being Non, and based on this (assuming that White is Non), there are two main reasons I believe he will survive:

Non’s death and resurrection have transformed him into a new person with a clean sheet. His old sins have been burned away so he could rise from the ashes like a phoenix. (Too dramatic? Okay, I’ll stop).

White has literally done nothing wrong. Nothing. Well, he might be a master manipulator who has manipulated us all into believing he has nothing to do with this. But, since it’s White, I don’t mind. He’ll still survive.

If it turns out White isn’t Non, he would still survive based on No.2 above.

Since he’s done nothing wrong, there’s nothing he has to redeem himself for either. His conscious is clean and he will, therefore, survive.

Tan/New will die.

He personally signed, sealed, and delivered his own demise to the executioner as soon as he said he didn’t care what Non would want him to do.

There’s no remorse in sight or no sign of him wanting to take responsibility either. I mean, it’s understandable considering he’s lost everything, and learning about Non’s death sent him over the edge. Just look at how unbothered he is when a gun is pointed directly at him. Sure, he knows Phee won’t shoot, but it’s like he’s been ready to die for a long time.

However, without that remorse and/or taking responsibility, there’s no way I believe he will survive. So, goodbye my reliable puppet master. I will miss your twisted plans.

Phee will survive.

One of Phee’s biggest mistakes was to tell Non to get lost and die (that was the only way for Phee to forgive Non). Based on the preview for the last episode, his biggest fear is being responsible for/chasing Non to his death. That guilt has been eating him up, to the point of staying “friends” with these assholes for so long (I know I could never have that tolerance, so props to him).

Phee’s redemption has been in finding out what happened to Non (even though he had to do some dubious shit to accomplish it). And as soon as Tee told them that Non was dead, Phee’s mission was done and he turned on Tan.

Now, I can’t stand disloyal bitches… but. BUT. His loyalty was never really with Tan. It was always with Non. It showed when Phee asked Tan what Non would’ve wanted. That’s why he’ll survive.

Jin will survive.

I believe he’ll survive on the fact that he confessed to Phee about taking the video. He acknowledged that he made the whole situation worse for Non. And he felt guilty for it.

He even confessed to having posted the video online (which may or may not be the truth, and I’m pretty sure he only thinks he did). If Jin did post it, then he acknowledged the fact that he made things worse for Non. If he didn’t (but still thought he did), he took responsibility for someone else’s mistakes without knowing it.

Either way, he felt remorse and took responsibility for his part in what happened to Non, and that’s why he’ll survive.

Tee will survive.

This is probably the one I mostly hope I’ll be wrong about, because, I would love to see him sacrifice himself to save White. But I’m pretty sure I won’t get that because then the whole show would turn out to be solely about Tee’s redemption arc and untimely demise (and I’ve already said that Non is the sun in the DFF solar system, so… no, this won’t happen).

Anyway, based on what I wrote above about remorse, redemption, and responsibility, I feel like Tee actually showed two (if not all three) of them in the 11th episode.

He definitely felt remorse for what he’d done to Non. The fact that he was crying when Non (understandably and rightfully) asked what the fuck he’d done to deserve Tee’s treatment of him showed his remorse.

He definitely took responsibility for his part in Non ending up in debt and in uncle Joe’s clutches as well, and he did so by getting another job so he could help Non pay off the debt faster.

Tee is also the character I feel has the biggest (if not the only) redemption arc in this series (and I love redemption arcs). He started as an arrogant asshole and slowly (very slowly) they showed us his remorse, wanting to undo what he’d done, making an effort to be a better person, and actually becoming a better person.

So, based on my theory, he will survive.

Fluke will die.

Fluke hasn’t owned up to anything. He apologized to the masked person (his hallucination) once but he was very vague about what he apologized for (even though I believe it was about uploading the video). He’s only been blaming everyone else for what they did, but nothing about him seeing it all and still not doing anything about it.

Fluke has got to go. And I’ll be less worried about the sick people in DFF who could’ve gotten him as their doctor. Who would’ve wanted to put their life in his hands? No, thank you very much.

Top will die (if he’s not dead already).

He’s a lot like Fluke in the sense that he blames other people instead of looking at his own mistakes. Also, he never took responsibility for breaking that fucking camera that started all this shit.

And if that’s not enough reason for him not to survive…

He’s also a sexist pig calling people out for being on their periods if they’re pissed. So, yeah, he’s got to go.

And lastly…

Keng is alive but will die.

Now, this is a delulu theory if anything. But I’ve said many times that I love delulu theories. So, here goes.

My theory is here that he survived his showdown with uncle Joe and might’ve been the one who killed him (perhaps as soon as he found out Non was dead). Since then, he’s been in hiding (he’s wanted for child abduction, after all) and planning a way to avenge Non (especially on Tee for the horse accounts and Por for stealing the script).

Keng turns out to be the ninth person (the masked person with a limp) who lured Por out to the woods, beheaded the uncle on the scooter, and has been watching the aftermath from the shadows. Until it’s his time to strike. If he manages to kill someone or turns out getting axed himself, remains to be seen.

If he is alive, there’s a big possibility he’ll die. Because I have no idea how you can redeem yourself from grooming a much younger, innocent student under your care…

#dead friend forever #dff #dff the series #my shit

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veryever · 1 year ago

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the costumes in the new live action still look better with some wear to them. I still wish Aang's costume had a lot more texture to the fabric (and I think his little cape being embroidered or a stiffer woven fabric. would have added some visual interest vs now where it looks like there's gotta be interfacing to keep the collar up)

but I'm not digging the watertribe clothing. This looks like a thin tanned hide, which doesn't seem warm enough for the climate conditions :/

Here it's not that the quality if the craftmanship is low, but I don't think the watertribe needs to have blue outer wear. It's a convention that is used in non-realism depictions of what IRL would be white/gray/tan fur. This is one thing the M.Night film did right.

I assume this was filmed on the volume stage, so we won't see any bts pictures to see of the cast needed blankets to actually stay warm in the arctic in winter lol

#atla #atla live action #watertribe #aang #kanna

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illegiblewords · 1 year ago

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I might futz around more, but I decided to do a character thought experiment.

Basically--if I was going to make characters with specific purposes in-mind (ex. pairings, plots) what do I think would be a fun or interesting option?

Details under the cut.

Order is literally just to try and make things look nice lol, but starting from top left:

Human lore bard, sage background. Paired with Karlach. I wanted to go in a lighter/golden direction visually to contrast with Karlach's red and blacks, and I figured it'd be fun to have a character who is RIDICULOUSLY intellectual with no street smarts at all finding balance against Karlach. I also didn't want to go the wizard route because differentiating from Gale seems important. Character is used to hearing and telling stories about huge events and maybe romanticizes a bit, but has more limited life experience. Meanwhile Karlach has been through way too much bullshit and just wants to appreciate small and ordinary things.

Githyanki monk, soldier background. Paired with Laez'el. Basically a githyanki who comes from similar life experiences but found the approach to training psychologically destructive even as it honed the body. Frames it more as a matter of efficiency than moral discontent--at least initially. Wound up enlisting as a monk instead as an opportunity to test whether he could become useful there. As a pair I figure there could be something interesting in having Laez'el with someone who shares common experiences and culture, but challenges her sometimes from within. She talks at times like she is the voice of the githyanki as long as she's among non-githyanki, but changes dramatically when other githyanki disagree with her. So think exploring that could be neat.

Asmodeus tiefling fiend-pact warlock, charlatan background. Paired with Wyll. Was trying to think about what would be the most dramatic and interesting sort of pair I can imagine in terms of dynamic for Wyll given he is a heroic-to-the-core kind of guy. Realized for me the answer was 1) a troll 2) someone who mirrors him as a fiend-pact warlock specifically, but revels in it. I figure a tiefling who embraced every terrible thing she was accused of, embraced her fiendish heritage, and has become a trickster who advances by fooling others could offer an angle to bring a bit of balance to both characters. She's kind of an asshole and can be selfish, but it's more a response to being told constantly she is those things and nothing she does to the contrary will change that. So she tries to at least enjoy it in the meantime. Wyll, meanwhile, is prone to focusing on the big picture to the exclusion of individual and personal, tends to be very into the classic hero figure. Having him adopt the devil visage while being with a tiefling who already has prominent hellish features she plays into seems like it would also be visually and thematically really interesting to me. Wyll being all 'I have spikes where there should not be spikes' while talking to someone with a tail just hits different.

Mephistopheles tiefling great old one-pact warlock, urchin background. Paired with Gale. This is my main for Baldur's Gate 3 and I've talked about her before somewhat. I find the idea of a tiefling who is uncomfortable with her fiendish heritage but has no problem pacting with an elder evil interesting haha. There's still menace and iffy morality but the flavor is very different. For this girl I specifically am running with a Hadar pact. Tentacles, the ocean, space, and stars all over the place. When most tieflings and fiends are strongly associated with fire, I wanted that to take a back seat to cold water here. For foiling with Gale it seemed fun to have a different type of magic user who isn't academic in the way that wizards are, contrasting not only the relationship with Mystra but how their magic operates respectively. Emphasis on mental vs emphasis on physical. I've also woven in questions surrounding 'if you love them let them go' versus 'did you honestly think losing you wouldn't hurt' where this character has a history of fumbling that.

Mephistopheles tiefling draconic bloodline sorcerer (white dragon), dark urge background. I figured it would be fun to take the white dragonborn angle dark urge gets and weave that into a tiefling for a divine/infernal vibe. I figure the Bhaal angle helps make sense of the blood combinations a bit. In transparency the story for this one is rougher compared to other concepts here, but I was kind of shocked and excited by how the design turned out. I think besides having room to play into a 'classic dark urge' vibe (if that makes sense) this is an example where I'd probably put extra emphasis on the question of identity and how much of the dark urge is simply who he is versus something inflicted. Might pair with Gale just because I'm a simple creature and I like Gale/would be interested in seeing how dynamic goes with dark urge firsthand.

Half-drow cleric of Ilmater, dark urge background. Paired with Astarion. Besides the wild irony of a child of Bhaal being a cleric of Ilmater specifically (which--points to how against-his-will the dark urge would have to be), I'm aware of Asterion's unanswered prayers while in captivity to Cazador. I think there are layers that could make the setup complicated and interesting on both individual and relationship dynamic levels. Half-drow because drow face a lot of assumptions about their alignment while half-elf gives some added uncertainty of place.

Half-elf Selunite cleric, noble background. Paired with Shadowheart. On the surface exactly as snooty and insufferable as she feared. Guy grew up heavily embedded in the divination and dreams aspect of his goddess, but this wasn't all it was cracked up to be. Bad omens and opportunists combined for a very cynical person. This guy was bitter, spiteful, and corrupt for a while before pissing Selune off enough that she confronted him with the consequences of his actions and the reality that things could be better if he bothered to put effort in. Notably does not carry connotations of purity in the way Selune often does, but instead offers a blood moon or lunar eclipse to guide those who are lost. Figure the fun and irony available in messing with Shadowheart alone is worth it here though lol.

Wood-elf rogue thief, criminal background. Paired with Halsin. Wanted to take a fellow wood elf but for drama and headaches she really isn't in-touch with nature at all haha. The city is her environment and she's well-adapted to its workings. I think it could be fun to have her offer positive perspective on how cities operate to contrast with Halsin's bond to nature, and to let the two of them balance each other out. Also just imagine Halsin with a fast-talking bad bitch.

Human necromancer wizard, sage background. Paired with the Emperor. Morally iffy, probably an aspiring lich on the down low, likely has major control issues in the sense of 1) not wanting to be controlled by anyone or anything else and 2) embraces control over the living and dead alike as a means of ensuring that. Probably co-exists with ascended Astarion and might do an evil run without being the dark urge. Mainly would prefer not to become an illithid because of possible loss of identity, soul destruction, and the requirement of eating brains.

#baldur's gate 3 #baldur's gate iii #tav #bg3 tav #dark urge #bg3 #bgiii

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mavaji · 8 months ago

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Exploring the Cost Dynamics: Non-Woven Fabric vs. Traditional Woven Fabric

Non-woven fabric has emerged as a popular choice in various industries due to its versatility, durability, and cost-effectiveness. As a leading provider of fabric solutions, Mavazi Fabrics understands the importance of cost considerations for our clients. In this article, we'll explore how the cost of non woven fabric manufacturer

compares to traditional woven fabric and the factors that influence this comparison.

1. Production Process

One of the primary factors influencing the cost of non woven fabric manufactureris the production process. Non-woven fabrics are manufactured using a process that does not involve weaving or knitting yarns together. Instead, fibers are bonded together mechanically, chemically, or thermally. This results in a simpler and more streamlined manufacturing process compared to traditional woven fabric, which requires yarn spinning, weaving, and finishing. The reduced complexity of the production process often translates to lower production costs for non woven fabric manufacturer.

2. Raw Material Costs

The cost of raw materials also plays a significant role in determining the overall cost of non-woven fabric. Non-woven fabrics can be made from a variety of materials, including natural fibers such as cotton and wool, synthetic fibers such as polyester and polypropylene, and recycled materials. The availability and cost of these raw materials can vary depending on factors such as market demand, production capacity, and geographical location. In general, non woven fabric manufacturer made from synthetic fibers tend to be more cost-effective compared to those made from natural fibers.

3. Labor Costs

Labor costs are another important consideration when comparing the cost of non woven fabric manufacturer to traditional woven fabric. Non-woven fabric manufacturing typically requires less labor compared to weaving or knitting processes. This is because non-woven fabrics can be produced using automated machinery and require fewer manual interventions. As a result, labor costs associated with non woven fabric manufacturer production are often lower, contributing to overall cost savings.

4. Energy Consumption

Energy consumption during the manufacturing process is another factor that influences the cost of non-woven fabric. Non-woven fabric production generally requires less energy compared to traditional weaving or knitting processes. This is because non-woven fabric manufacturing involves fewer mechanical motions and heating processes. As a result, non woven fabric manufacturer production can be more energy-efficient, leading to lower operating costs and reduced environmental impact.

5. Customization and Versatility

Non-woven fabrics offer greater customization and versatility compared to traditional woven fabrics. They can be engineered to meet specific performance requirements, such as strength, absorbency, and filtration efficiency. This customization capability allows non-woven fabric manufacturers to tailor their products to the unique needs of their clients, potentially adding value and justifying higher costs compared to traditional woven fabrics.

In conclusion, the cost of non woven fabric manufacturer compared to traditional woven fabric depends on various factors, including the production process, raw material costs, labor costs, energy consumption, and customization capabilities. While non-woven fabrics often offer cost advantages due to their simpler production process and lower labor and energy costs, the final cost comparison may vary depending on specific requirements and market conditions. As a trusted provider of fabric solutions, Mavazi Fabrics offers a wide range of non-woven fabrics tailored to meet the diverse needs of our clients while ensuring cost-effectiveness and quality.

#nonwovenfabric #manufacturer #fabricengineer #innovativematerials #textileindustry #sustainableproducts #technicaltextiles #manufacturingexcellence #madeinUSA #materialsourcing #productionprocesses #ecofriendlytechnology #qualityassurance #industrialmaterials #textiledesigns #nonwovenmaterials #advancedmanufacturing #productionefficiency #environmentallyfriendlyinfos .

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elipheleh · 2 years ago

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Music - Henry's Music Room, with special guest Bea

The only room that really feels like both Henry and Bea is a small parlor on the second floor converted into a music studio. The colors are richest here: hand-woven Turkish rugs in deep reds and violets, a tobacco-colored settee. Little poufs and tables of knickknacks spring up like mushrooms, and the walls are lined with Stratocasters and Flying Vs, violins, an assortment of harps, one stout cello propped up in the corner. -Chapter 8, Red White & Royal Blue

This post features youtube links, rather than the spotify links of the other posts, simply due to the nature of the music involved. As such, I've put the whole post under a read more to save space. I want to thank @zukoinmypocket for all her help and willingness to be a sounding board for a stranger!

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Link to the masterpost/contents page for the music posts

Link to the masterpost/contents for the whole series

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In the center of the room is the grand piano, and Henry sits down at it and plucks away idly, toying with the melody of something that sounds like an old song by The Killers.

youtube

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Henry's classical music influences appear to be all - aside from the Killers! - within the Romantic era of music. The Romantic period in Europe was at its peak from 1800-1850, but dates throughout the 1800s. The former era was known as the Classical period and is commonly associated with the composers Haydn, Mozart, Beethoven, and Schubert.

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So he just listens and nods and smiles a little while Henry explains that this is what Brahms sounds like,--

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Husband and wife duo, Lang Lang and Gina Alice Redlinger, play Brahms' Hungarian Dance No. 5.

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--and this is Wagner, and how they were on the two opposing sides of the Romantic movement. “Do you hear the difference there?”

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R Wagner-C. Marín: Concert Paraphrase of "The Ride of Valkyries". Carles Marín, piano.

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His hands are fast, almost effortless, even as he goes off into a tangent about the War of the Romantics--

The War of the Romantics is a term used to describe the schism that emerged in Germany between two groups of Romantic composers, in the latter 1800s. The split - 'war' - was between those who defended the classical tradition - the absolute group which included people like Brahms - and those who were progressive - the program music group with Liszt and Wagner, among others.

Program music was descriptive, inspired by things like literature, or other non-musical inspiration, whilst absolute music's meaning was solely the notes on the page - inspired by nothing outside the music itself.

Liszt's piece linked below is a good example of program music, being connected to the poem "O lieb, so lang du lieben kannst!", as is Scriabin's piece Henry references.

Both forms added to classical music, program music - like Wagner - created new genres within the form, and absolute music - like Brahms - made old styles of music align with contemporary styles.

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--and how Liszt’s daughter left her husband for Wagner, quel scandale.

Liszt's daughter - Cosmina - actually had three children with Wagner whilst still married to her first husband.

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Liszt's Liebestraum No. 3 - this piece is based a lovely poem, "O lieb, so lang du lieben kannst!" ("Oh dear, as long as you can love!")

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He switches to an Alexander Scriabin sonata, winking over at Alex at the composer’s first name. The andante—the third movement—is his favorite, he explains, because he read once that it was written to evoke the image of a castle in ruins, which he found darkly funny at the time. He goes quiet, focused, lost in the piece for long minutes.

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Alexander Scriabin's Sonata no. 3, Andante

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There's something very interesting - and very in keeping with Henry's characterisation - that he was written as being interested most by Romantic era music. Not only are many Romantic pieces tied to literature and art - and we see Henry's love for both displayed in the book - but the Romantic period involved the rebellion against traditionalist expectations, and emphasised passion over reason. We can see this tying into Henry's storyline - he is, by his reluctance to willingly closet himself for the 'image' of the monarchy, rebelling against the traditionalist norms and expectations that surround his life as a prince of England. It's his passion, his love for Alex which leads him to stand up to his grandmother - the Queen, analgous to the Classical era's traditionalism - and refuse to back down over his desire not to lie about the emails and photographs which outed him.

The Romantic era, in many ways, worked to break the rigid standards that previous composers had been aligned with in the Classical Era and before. This makes an interesting analogy with Henry's interest in Romantic music - especially with the reference to Scriabin's imagery of a castle in ruins. Throughout Red White & Royal Blue, Henry is looking for ways to subvert the rigid expectations that come with being a prince. Multiple times in the book, Henry chooses to do the opposite of what he 'should' do, often when he is frustrated with his family. For example, in Chapter 8, after Phillip has been questioning Henry about his actions & suggests Henry should try to align his friendships more with those 'fitting' for a member of the royal family, Henry says to Alex: "I want to do the absolute last thing I'm supposed to be doing right now."

Henry's characterisation fits in with his appreciation for Romantic era music, in ways that aren't apparent at first glance. Henry & Alex's (happy) ending - breaking the rigid standards the Queen attempts to enforce on Henry as well as challenging the traditionalist expectations - parallels both common themes in Romantic music and the evolution of how the composers rejected traditional styles and created their own.

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“You know, Bea has only ever wanted to play music,” he starts. “Mum and Dad played too much Joni Mitchell for her growing up, I think. -Chapter 7

Sources/Additional Reading: Wikipedia - War of the Romantics ClassicFM - The War of the Romantics BBC iWonder - Dr. Caroline Rae discusses the ‘War of the Romantics’ Art And Popular Culture - War of the Romantics ClassicFM - What was the War of the Romantics? Russell Ger Composer - War of the Romantics Wikipedia - Romanticism Encyclopedia.com - The Challenge of Romanticism: Literature and Music Willan Academy - A Quick Summary of Romantic Music OpenALG - Music & The Human Experience, Chapter 11 Connolly Music - The Romantic Period of Music

#rwrb #rwrb movie #red white and royal blue #elio's #meta #elio's meta #rwrb music #a series of learning about things that are referenced in the book #rwrb playlist

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mogwaei · 11 months ago

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ZJINN LORE ZJINN LORE

1, 10, 12, 29, 46, 51

for the character questions pleeeease 🤲 (feel free to pick obv. if u don't feel like all of them ahah but if you do. PLS) 👀

MY FRIEND THANK YOU SO MUCH!!! ✨

This is very much a WIP since I'm still learning about them, but ZJINN LOREEE ZJINN LORE LETSA GO!

1] What's the lie your character says most often?

Most consistently: how they lost their eye (they wear an eyepatch and get asked about it a lot) and loves to change the story up on everyone.

Bonus: Zjinn is multiclassing bard who has adventure and chaos woven into their fucked up DNA. In their case, embellishment and lying is in their kit 😂

10] What fact do they excitedly tell everyone about at every opportunity?

When feeling ornery, Zjinn takes something one of their companions told them and repeats it...but, like, shreds the fact up and sprinkles it into a Salad of Lies. See the above answer for context lol. Gale is victim of this a lot because they like to argue (affectionate) and he makes it too easy. Wizard vs Sorcerer💜🧙‍♂️ (Also I doodled this for you below) :D

Putting the rest beneath the cut!

12] What's something that makes them laugh every single time? Be specific!

Before the Urge really starts taking a toll on Zjinn, I'd say wrestling (or dancing, if she can get him to) with Wyll - it always ends up silly. "Stupid" drinking games with Karlach...non-serious bickering with Gale (or coming up with absurd twists on incantations to the point one or both of them accidentally take it into battle). When Astarion really gets going on anyone (Zjinn included), she finds a rhythm in his words/voice and turns it into a song, which pisses him off (affectionate) but makes everyone else laugh. Those are the more wholesome things - excluding the dark edgy stuff lol

29] How do they respond when someone doesn’t believe them?

They just keep telling the story, making it even more ludicrous/gross and insert the non-believer into the story as a character where they end up in a compromising/humiliating position until someone (Gale, Wyll, etc) decides to step in or physically removes her😂 She likes to antagonise people.

46] Are they a listener or a talker? If they’re a listener, what makes them talk? If they’re a talker, what makes them listen?

I'd say both! As a bard, Zjinn loves stories and telling them. If it's someone Zjinn respects and has deemed worthy, she tends to listen. Those that fall into category of "utter bellend" she tends to start shit talking them with Astarion until they take notice. :>

51] What’s a phrase they say a lot?

I feel like Zjinn is the type to latch onto something a companion might accidentally say in a funny (unfortunate) way and repeat it in battle or while doing mundane activities, so I don't have anything specific? But I have a HC that Karlach and Wyll would love this and join in on it lol

#baldurs gate 3 #bg3 #dark urge #mogwaei arts #zjinn #mogwaei ocs #3 seconds is too generous

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mincedpeaches · 9 months ago

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rvb19 post

So I’m writing this post without looking at a single other person’s post about the season so my thoughts may solidify more after this and even change a little bit, because a lot of times people are better at putting into words and meta my own thoughts that I’m not as good at articulating. But at the immediate aftermath. I’m like. It’s fine? I suppose? And I think I will sour more on it over time. Maybe even by the end of this post. I definitely would not call it good. The best way I can describe it was:

It was a collection of scenes.

And you might say, what? For years Red vs Blue was a collection of scenes, the show was broken up into five minutes episode chunks! And I would say yes, but also it was masterful in that those episodes felt like they were woven well into a complete story too. This felt like it had story beats that it wanted to hit in the script (Tucker!Meta, Sarge Dies, Tex and Carolina in cool (“cool”) fight scene) and did it without regard to character. Except the Grimmons scene after Sarge died and Wash/Doc bit. Which I’ll get to later.

The info dumps were odd, it felt like the first ten minutes clearly wanted to remind us of some things (in case we forgot I guess), but took other things at face value (479er+freelancer cameos for example). If you think about the plot for more than five minutes I think breaks apart easily (why did the Reds+Caboose end up at bases again after Chorus, why/how did Tucker leave with all the AI, why did Epsilon leave messages for the reds and blues instead of CAROLINA)

Also going back to story beats w/r/t to character, I think it also really failed to expand on anything that the previous seasons had laid down. It’s always been a tall order after the character arcs of Chorus, but the bits where the Reds didn’t help Caboose and then did after re-consideration felt like going through the motions at this point. So it definitely wasn’t a funny gag, and since they’ve done that SO many times before it almost felt cruel to have the Reds refuse to help at first. The conclusion at the end of series, wasn’t really informed by anything done HERE. In this movie. I mentioned in my liveblog I was having trouble articulating this, and I still am. I’m kind of hoping someone will put this into words better than me.

Tucker!Meta might as well have been a completely different guy for how much it informed the story. There was the one bit where he lets Caboose get away, that’s it. Otherwise he had a COMPLETELY RIDICULOUS evil laugh and mannerisms for NO REASON and it sucked. If this was supposed to contrast with Tucker for angst reasons it didn’t work. Meta’s entire thing was he was huge, threatening, non-verbal, and was mentally unsound from so many AI. WHY would having all the AIs coalesce into this mustache twirling thing. I liked the scene where the AIs are piloting the ship and they’re all talking while Tucker is groggy. THAT was suitably creepy and threatening. I could not take Meta!Tucker seriously most of the time.

And then since they had so many guys gone by the campfire scene (Tucker trapped as the villain, Donut not there with no explanation ever, Lopez missing after his first scene(where did he go?), Epsilon dead (still), Sarge dead (newly), Carolina not there with no explanation, Wash not there with no explanation, AND not to mention different Caboose voice actor) the reminiscing felt a little hollow. Its like a metaphor for the state of Rooster Teeth when they were working on this lmao. Same with the scene when Grif and Simmons go to confront Tucker!Meta, it felt kind of hollow with just the two guys. That worked a tiny bit better because it was supposed to be sadder, but then the save in the form of Carolina & Tex wasn’t as character driven either. Remember scenes like the season 8 Meta fight, the Season 10 rescue of Carolina, or the final shot of Season 13. The entire team come to together, not just for the cool action scene, but as character conviction (Sarge’s speech, choosing to help Carolina, choosing to help the people of Chorus).

Okay this is already getting a little long and ramble-y and its getting VERY late right now. Let’s take it a step back and bullet point the Pros and Cons.

BAD:

NO DONUT. Why was Donut not there. If he couldn’t be there for voice actor scheduling reasons, why wasn’t his character acknowledged in a way that was good and respectful and made sense at all. First it’s the gay angels now it’s the gay simulation troopers. I can’t win.

GRIMMONS SEPARATION. FUCK. ESPECIALLY after I was cock teased with the “come with me”. God.

Wheres the fucking post. The found family FUCKING post. Hold on I'm reblogging it before I post this. To be linked here.

Carolina was done dirty in terms of getting no screen time and her character beat(ish) deferring to making Wash feel better. Man. I really thought she was gonna be involved here. This was a CHORUS follow up.

The action was soooo whatever. Budget who. But this wasn’t really BAD bad. It was just like. Sure this is there and happening I guess. I was never one for the action in rvb though.

OKAY:

Wash angst was good, had a throughline, BUT it was at the expense of not having him interact with the Reds and Blues and also Carolina should have got some of that. Getting serious flashbacks to Seasons 9 & 10 where Carolina was shafted in this department as well.

There were a number of jokes that I laughed at. You may think that this is a given for rvb but remember we last came off rvb zero. Also the teaser that had humor that was really off. So I am happy that there were jokes that I could laugh at.

Sarge death scene was good, especially in a vacuum. I think it would have struck better if the buildup and stakes had been better (collection of scenes….) but it was still good.( <- This may be the emotions talking. TBD.)

The scene where they go back to bury Sarge at Blood Gulch. VERY GOOD. I think the best scene in the whole thing. THIS, more than the last scene of the entire series, felt like the goodbye to Red vs Blue. Then when Simmons offers to discharge Grif? Ten out of ten. Acting was happening here. Grimmons acting.

Tex showed up! Fun surprise. Feel like she could have been utilized better though (more character moments less action)

It’s past midnight and I can’t think of any more things... but there may be more. Time to sleep on this. And reblog posts.

I will stand by my summary though: It was a collection of scenes.

#rvb19 spoilers #rvb spoilers #rvb blogging #mincedthoughts #once again I will say. i am free now.

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tierras · 1 year ago

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sorry if this is a dumb question but what do you mean by categories and what's ITO?

not a dumb question!! for example, i work with apparel (vs. non apparel) so categories are things like woven tops, knit tops, skirts, pants, jackets, etc. ITOs stand for intent to order, it's basically an excel sheet you fill out with info of the pieces we're intending on ordering :)

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favouritefab-blog · 1 day ago

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Non Woven Bag Raw Material Cost: Factors, Pricing Guide, and Optimization Tips

Non-woven bags have gained immense popularity as an eco-friendly alternative to plastic bags. However, understanding the cost of raw materials for non-woven bag production is essential for manufacturers and buyers. This guide explores key cost factors, pricing trends, and tips to optimize raw material expenses.

Factors Affecting Non-Woven Bag Raw Material Cost

1. Type of Raw Material Used

Polypropylene (PP): Most common material, lightweight and cost-effective.

Recycled Materials: Sustainable but may have varying costs based on availability.

Coated vs. Uncoated Fabrics: Coated non-woven fabrics offer water resistance but are costlier.

2. GSM (Grams per Square Meter) of Fabric

Low GSM (20-50 GSM): Cheaper, used for lightweight bags.

Medium GSM (50-80 GSM): Ideal for shopping and promotional bags.

High GSM (80-120 GSM): Durable, used for heavy-duty carrying bags.

3. Fabric Production Process

Spunbond Non-Woven Fabric: Cost-efficient, widely used.

Meltblown Non-Woven Fabric: Higher cost due to fine filtration properties.

Laminated Non-Woven Fabric: Adds durability but increases cost.

4. Market Demand and Supply

Prices fluctuate based on raw material availability and global demand.

Seasonal trends impact pricing, with higher costs during peak production periods.

5. Customization and Printing

Plain Fabrics: Cheaper than printed ones.

Screen Printing vs. Flexographic Printing: Costs vary based on design complexity.

Pricing Guide for Non-Woven Bag Raw Materials

Basic Polypropylene Non-Woven Fabric: $1.2 - $2.5 per kg (varies by quality and GSM).

Laminated Non-Woven Fabric: $2.5 - $4 per kg.

Recycled Non-Woven Material: $1.8 - $3 per kg, depending on purity and processing.

Additional Cost Considerations: Dyeing, printing, and lamination add extra expenses.

Tips to Optimize Raw Material Costs

Bulk Purchasing: Buying in large quantities reduces per-unit costs.

Selecting the Right GSM: Avoid overuse of high GSM if not required.

Negotiating with Suppliers: Long-term contracts can help secure better prices.

Using Recycled Materials: Eco-friendly and cost-effective.

Efficient Production Planning: Reducing waste lowers overall material costs.

Conclusion

Understanding the factors that influence non-woven bag raw material costs is crucial for optimizing production expenses. By choosing the right materials, buying in bulk, and utilizing cost-effective strategies, businesses can improve profitability while maintaining quality. For premium non-woven raw materials at competitive prices, connect with Favourite Fab, a trusted supplier of high-quality non-woven fabrics.

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