Sectoral Strategies for Export - The Indian Textile Industry: The Road Ahead…
Sectoral Strategies for Export The Indian Textile Industry: The Road Ahead... Lavanya Swaminathan EXECUTIVE SUMMARY The global textile industry is set to undergo a significant transformation. On December 31,2004, the Agreement on Textiles and Clothing (ATC) will expire, and with it the quota system for international trade in textiles and clothing will no longer be used to govern international trade. By 2005, all quotas on clothing and textiles will have disappeared. As a result, the textile industry in India is going to face greatly increasing competition after 2005. Much of this competition will come from China, whose high capacity to produce textiles is held back today only by the ATC quota system. As in many other countries, India's textile sector is one of its oldest industries and tends to be more traditional in terms of organization and business practices. The traditional nature of the textile sector is going to be a significant barrier to India for stepping up its performance after the elimination of the quota system. Recently, India has been very successful at supplying the global service economy, which has not required the robust build-up in physical activity that textile trade requires. India's industrial sectors have grown at a modest rate in the 1990s, although at a slower pace compared to the previous decade. In contrast, its services and information-based
What design elements were used and what architectural changes were made by Mackintosh at 78 Derngate to create mystery and spaciousness' in such a small interior.
WHAT DESIGN ELEMENTS WERE USED AND WHAT ARCHITECTURAL CHANGES WERE MADE BY MACKINTOSH AT 78 DERNGATE TO CREATE 'MYSTERY AND SPACIOUSNESS' IN SUCH A SMALL INTERIOR? 78 Derngate, an introduction: As an early nineteenth century, terraced Victorian house, 78 Derngate proved almost to be the end of Mackintosh's career in interior design. It was the smallest of all the domestic commissions that Mackintosh ever undertook. This terraced, and extremely modest house sloped steeply from front to back and so there were three storeys at the front of the house but an additional storey on ground level at the back. The house was simply a stack of rooms on a steep slanting slope. This house was a small and limited space and so it was Mackintosh's job to create a more spacious home for the Bassett-Lowkes. Mackintosh made architectural alterations that enhanced the amount space in the home. He substituted the existing sash window in the front room for a bay window instead. This gave the room a lighter feel in contrast to the dark colours Mackintosh used, which were mostly black and deep greys until a later date when Mackintosh returned to the home to lighten the front room. At 78 Derngate Mackintosh achieved an entirely new direction in his interior design. He tried out new ideas with a huge amount of confidence and he decided to abandon the organic and vernacular motifs from his early work.
It's important to understand the difference between our ancestor's need to clothe themselves for warmth and the emergence of fashionable clothes and changing fashions.
It's important to understand the difference between our ancestor's need to clothe themselves for warmth and the emergence of fashionable clothes and changing fashions. From prehistoric times, people have worn clothing, which was made of purely natural materials. We know this because what little evidence has been discovered comes from burial sites. But natural fibres decompose and what evidence exists has come from burial sites. At a Middle Palaeolithic site near to the Russian city of Vladimir, 3 bodies were discovered. Each body was covered in thousands of small ivory beads. Due to where these beads were on the bodies, the conclusion reached was that the beads were a form of decoration on hats and other pieces of clothing. Styles of clothing and fashion trends have really only emerged since the 1400's. This can be linked to the emergence of a wealthier class of people. Wearing certain clothes and fashions became an indication of class and status and also occupations. The word "Fashion" describes not only clothing a person's body but also includes bodily decorations. This includes such trends as body painting, tattooing, piercing and scarring. These are used to change and enhance the body's natural appearance, which can be a form of communication to others about a person's social and economic status. In civilised societies, the clothing of people's bodies means that they
Giorgio Armani
Giorgio Armani Giorgio Armani, one of three children, was born on July 11th, 1934 in Piacenza, Northern Italy. Even though he is an international well known designer, he grew up hoping to become a doctor. However, he quit medical after two years because he hated the sight of blood. He began his career in the fashion industry by working as a buyer for Milan's largest department store, La Rinascente. After that job, he worked as an assistant designer for Cerruti. He also worked as a freelance designer, and it was in 1974 he designed under his own name. He mainly designed men's clothing but until 1975, he began his women's collection. Giorgio was the first fashion designer to be on the cover of Time Magazine since Christian Dior in 1982. He won many prestigious awards, one of which was the Grand 'Ufficiale Dell'Ordine Al Merito, Italy's highest government award Today, he is the founder of an empire with over 1.7 billion dollars. There are over 2000 stores in the world, selling everything from perfumes and lingerie to shoes and umbrellas. Armani is represented by 20 licensees and 1 joint venture in Japan. He also has a 100% share holding in ANTINEA which manufactures the women's clothing for EMPORIO ARMANI and is a share holder in SIMINT, the Modena based manufacturer of his jeans and basics for Emporio Armani, INTAI which produces his ties, and LUXOTTICA which produces his
Chemistry: Data Analysis for the most suitable material for a backpacker's towel
Chemistry: Data Analysis for the most suitable material for a backpacker's towel. Method In groups, we tested three different types of material (named pale blue, dark blue and brown) to find out which one would be more suitable as a backpacker's towel. The criteria that would make a good backpacker's towel would be aspects such as a low density, high absorpancy, rapid drying etc. We weighed the fabric before wetting it and weighing it again. We then hung it on some suspended string and let a rotating fan dry them for fifteen minutes. After this time was up, we weighed the materials again in order to work out the drying rate, the absorpancy and the amount of water lost. We then recorded our results in a table (displayed further on) and analysed these to come to a conclusion. Results Fabric Area (cm²) Dry mass Wet mass Mass after drying Absorpancy Water lost Drying rate Wet mass - Dry mass Density Pale blue 1 391 9.5 29.9 26.4 2.1 3.5 4 20.4 243 Pale blue 2 358 9.9 47.2 43.6 3.8 3.6 4.4 37.3 276.5 Pale blue 3 360 9.4 38.8 26.3 3.1 2.5 50 29.4 261.1 Pale blue 4 352 9.1 43.2 44.9 3.7 -1.7 -6.8 34.1 258.5 Pale blue 5 265 9.3 38.6 25.5 3.2 3.1 52.4 29.3 351 Pale blue 6 408 9.2 32.8 24.4 2.6 8.4 33.6 23.6 225.5 Pale blue 7 400 9.7 50 24.4 4.2 25.6 02.4 40.3 242.5 Dark Blue 1 357 7.4 21 4.8
Textile crafts.
Textile crafts: Weaving The weaver produces the sousi garbi, khais, lungi (now negligible) farasi etc. The Sousi is a common wear of the women folk of Sindh and is available in beautiful colours and designs in cotton and silk. Sousis, garbis and motros are made in an endless variety of striped design, they are named according to the prevailing colours and the design or pattern of the stripes. The panjkani (five colours), sat rangi (seven colours) zanzer-ao (chain like) and tillai (match stick) are most common. Ajrak Fabric woven and patterned is tradition of a people, translating dreams born in swift rising desert sands, dyes of indigo and vermillion red, from lattice patterns on fabric through a process, laborious and painstaking. An art and a tradition, the cloth of the inhabitants of Sindh 'Ajrak' -- aptly described by Noor Jehan Bilgrami. The Blocks used are a beautiful specimens of wood carving. It is a colour fast fabrics put to multifarious uses. Its making is lengthy, complex and highly technical art. In the first place, the cloth is washed in solution of water and 'soak' or the crushed berries of the lyre or Soda khaar, it is then steamed and stamped with wooden blocks. The die is dipped first in a solution the alizerin i.e. the red colouring matter, then in two other solutions for depth, the cloth with design printed on it is dipped sucessively in a solution of
A comparative study of Ancient Athenian Dress and modern dress.
Joshua Jepson Item No. 2 Dinnington Comprehensive School Deadline date: 20/6/2003 A comparative study of Ancient Athenian Dress and modern dress. In this assignment I am going to be comparing Ancient Greek clothing to modern clothing, I am also going to use diagrams to show some of my examples of clothing. In Greece today the weather is very hot nearly all year round, so the people do not need to wear as thick and as many clothes as we do because of our colder climate. In Ancient Athens the weather was exactly the same as it is now. The material used was very light and airy as to keep them cool, it was usually wool or linen which was woven at home by the women, it was then made into clothes, nowadays clothes aren't hand made, they are manufactured by machines and sold in shops, even if we had to make our own clothes it would be less of a job because we have got sewing machines and other things that were not used back then. Many colours were used for there clothing such as yellow black and green but amongst the most popular were purple, violet, saffron and red. To decorate their clothes they used stars or spots but it was mostly geometric designs, round the edges they would weave pictures of scrolls, cartoons and animal-scenes (shown on 5 diagram C). Currently we have clothes in every colour you could imagine and
Dance Work
EPN: Extended Programme Note Name: Harpreet Bharij School: Featherstone High School Centre Number: 12430 Title: The warrior of the wind Music: Contemporary dance music vol.3 Composer: Michael Price Track 10: Travelling beyond Stimulus My choreography is based on a poem called "Brother of the wind. My dance is about ancient warriors fighting through the different phases of weather and how they perform these strong actions and shield themselves from the weather. I then show the soft side of the warriors the relationships however then I show the warriors getting ready for war and battling. I chose the music stated above because it has a strong feeling which gives a exciting mood to the dance. Motif 1 The first motif is about the direction of the wind I wanted to show how wind affects the warriors from fighting. I start down stage roll and cover my face using my hands with the right hand on top of the left I turn my face away from the stage and lean on my left shoulder roughly, I move by sweeping my right foot across the floor. I then fall harshly on the stage left to show the impact of the wind; I perform a roll energetically on the floor on stage right and face the audience. I swing my right arm smoothly towards stage right to bring my legs together and change the direction of my body I gradually stand up and pivot my body drops with my head following last and
Select two designers from the late 20th or early 21st century. Produce a contextualized, critical review of their work.
Select two designers from the late 20th or early 21st century. Produce a contextualized, critical review of their work. This essay will be looking at and comparing two designers from the 21st century. A critical analysis of their work will be presented and will go on to compare the similarities and differences between each designer. The essay will conclude with personal thoughts and opinions. The designers that I have chosen are Issey Miyake, a Japanese contemporary designer whose work embraces both innovation and tradion. The other selected designer is Alexander McQueen, a London designer whose work breaks away from the mainstream and gives satisfaction to women by constructing his garments to fulfil the typical stereotype in this day in age. Issey Miyake's is one of the most well known Japanese fashion and textile designers in the world. Miyake was born in Kiroshima in 1938, he completed an art degree in graphics at Tama art university (Tokyo). Miyake's designs focus on shaping around the natural human form. His designs are continually evolving and changing. These impressive transformations alter around the movement of the human figure. This kind of work is mainly exhibited on his cat walk shows. Miyake sends his models down the catwalk in garments which can transform into many unusual shapes. This seems to be one of Miyake's humorous tricks, by modifying simple
Environmental issues in textiles.
Environmental issues in textiles Environmental effects of the textile industry:- * Processes used to produce a design can affect the environment but it is possible to assess how environmentally friendly a product is by carrying out a "cradle to the grave" analysis. * It isn't possible to extract raw materials without causing some danger to the environment. * Fabrics made from natural sources are biodegradable so waste disposal is not a problem and this causes little damage (if any) to the environment. * Synthetic fibres (made from coal or oil) are non renewable and the extraction causes significant environmental damage. They are not biodegradable. * Raw materials have to be transported to mills to be manufactured into yarns, fabrics etc. they are carried by road, rail, or ship. These methods of transport use fuel and the exhaust fumes emitted add to global pollution. * At the mills the production of textile items requires energy and many use toxic chemicals. If the waste products (e.g. chemical effluents) are discharged straight into the atmosphere. They may be contributing to global warming. * Textile products that are produced to lost a long time e.g. socks are more environmentally friendly because fewer new products need to be made unlike tights which can only be worn a few times before being disposed of due to laddering. More tights need to be made to meet high