Relevant bibliographies by topics / Indian textile fabrics

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Indian textile fabrics'

Author: Grafiati
Published: 4 June 2021
Last updated: 29 July 2024

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Journal articles on the topic "Indian textile fabrics"

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Singh, Sukhvir, and Jyoti Rani. "Traditonal Indian Textile Techniques Used to Upcycle and Recycle Textile Waste." Textile & Leather Review 4 (December 17, 2021): 336–53. http://dx.doi.org/10.31881/tlr.2021.29.

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The current study focuses on reviewing different traditionally practiced Indian textiles techniques used to upcycle and recycle textile waste, including fabric waste, rejected garments, used garments and fabrics, finished and processed textile products and other kinds of hard textile waste. The findings reveal that many artisans, weavers, craftspeople, self-help groups, and fashion and textile designers from different Indian states are practicing many traditional textile techniques to recycle and up-cycle textile waste. Among these techniques, the famous techniques identified include Kantha of West Bengal, Sujani of Bihar, Kathputlis of Northern Indian states, Panja Dari of Haryana, Namda and Gabba of Kashmir, Kausti of Karnataka, Patchwork and Chindi Rugs. There exists a strong need to make people aware of the methods of recycling textiles that not just increase manufactured textile product life cycle but also contribute towards a sustainable future of the fashion and textile industry in a developing country like India. It has been observed that these techniques play a crucial role in converting textile waste into creative functional products, thus silently contributing to the sustainable future of the textile industry. The objective of this study is to summarize and publicize the methods of these traditionally practiced Indian textile techniques used to recycle and upcycle tonnes of textile waste produced every year. It was found that these traditionally practiced recycling and upcycling techniques of various Indian states are contributing silently to the sustainable future of the Indian textile industry. The recycling of old cloth not just increases the product life cycle but also provides employment to millions of people.
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Rastogi, Twinkle, Madhavi Tomar, Tanu Singh, and Kajal Thakuriya. "Textiles in Healthcare A Holistic Exploration of the Indian Landscape." Eduphoria-An International Multidisciplinary Magazine 02, no. 02 (April 1, 2024): 49–56. http://dx.doi.org/10.59231/eduphoria/230407.

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This chapter undertakes a comprehensive analysis of the symbiotic relationship between textiles and healthcare in the context of India, a country renowned for its rich textile heritage. It navigates through historical precedents, the current scenario, challenges faced by the industry, opportunities for growth, and anticipates future trends and innovations. The historical overview accentuates the intrinsic role of traditional Indian fabrics, such as khadi and muslin, in healthcare settings. Transitioning to the present, the chapter investigates the evolving landscape of healthcare textiles in India, focusing on crucial aspects like medical apparel, hospital bed linens, and advanced wound care products. Challenges in the healthcare textile sector, notably pertaining to quality standards, certifications, and cost-effective production, are dissected. Simultaneously, opportunities for growth are explored, emphasizing the significance of research and development, and the potential for global market expansion. Peering into the future, the chapter unveils emerging trends such as smart textiles with monitoring capabilities and the adoption of sustainable practices. The narrative concludes by summarizing key takeaways, signalling optimism for the trajectory of the Indian healthcare textile industry, positioning it as a key player on the global stage.
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Basak, Santanu, Kartick K. Samanta, Sajal K. Chattopadhyay, Rajesh Shashikant Narkar, and R. Mahangade. "Flame retardant cellulosic textile using bannana pseudostem sap." International Journal of Clothing Science and Technology 27, no. 2 (April 20, 2015): 247–61. http://dx.doi.org/10.1108/ijcst-12-2013-0135.

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Purpose – The purpose of this paper is to use the natural wastage plant product, bannana pseudostem sap (BPS) for using as fire retardant of cellulosic textile substrate. The study aims to use first time any wastage plant product for making fire retardant cellulosic textile. In this regard flame retardant functionality was imparted in cellulosic textile using BPS, an eco-friendly natural wastage product. Design/methodology/approach – The extracted sap was made alkaline and applied in pre-mordanted bleached and mercerized cotton fabrics. Flame retardant properties of the control and treated fabrics were analyzed in terms of limiting oxygen index (LOI), horizontal and vertical flammability and total heat of combustion using bomb calorimeter. The thermal degradation and pyrolysis was studied using thermogravimetric analysis (TGA). The chemical composition of the control and BPS treated cellulosic fabric were analyzed by FTIR, SEM and EDX. Durability of the flame retardant functionality to soap washing had also been studied. Findings – The study showed that the treated fabrics had good flame retardant property compared to control fabrics. The LOI value was found to increase by 1.6 times after application of BPS. As a result of this, the fabric does not catch flame. In horizontal flammability, the treated fabric showed burning with afterglow (without presence of flame) with a propagation rate of 7.5 mm/min, which is almost ten times lower than the control fabric. After application of BPS cellulosic fabric sample produced natural khaki colour. There was no significant change in other physical properties. Practical implications – The application process is simple and cost-effective as no costly chemicals were used. Further advantage is that the treated fabric could also be considered as natural dyed cotton fabric. The developed khaki colour is quite attractive and stable to sun light exposure. This developed process could used in colouration and flame retardant finishing of home furnishing products such as home-window curtain, railway curtain, hospital curtain, table lamp and as a covering material of non-permanent structure like in book fair, festival, religious purpose, etc., where large quantity of textile is used and has chance of fire hazards. Social implications – BPS abundantly available in Indian as well as other countries and it is normally considered as waste material. It is eco-friendly and produced from renewable source. Therefore, the application of BPS in cotton textile for colouration and functionalization will give the advantages of value addition using natural product. Rural people will be benifited lot by applying this technology whenever it required. Originality/value – This paper helps to clarify first time why and how a wastage plant product like BPS can be used for preparing fire retardant cotton cellulosic fabric.
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Jaheer, Abdullah, Ukesh S, T. Saran, Nikunj Sarda, Siddharth Tomar, Prof Richa Tiwari, and Prof Vivek Gupta. "Era of Sustainability in Textile Industry: A study on Rising Concerns towards Sustainable Fabrics in Indian Fringe." International Journal for Research in Applied Science and Engineering Technology 11, no. 4 (April 30, 2023): 2491–96. http://dx.doi.org/10.22214/ijraset.2023.50674.

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Abstract: Introduction: The textile industry is one of the biggest and most complex businesses in the world, confronting numerous environmental and social challenges. Feasible textile generation is getting to be progressively imperative to decrease the negative environmental and social impacts of textile generation. The scale and productivity of economical textile generation is key to guaranteeing that textile generation meets natural guidelines and social responsibility. Aim of the Research: Is to understand the behavioral pattern of consumers towards accepting and purchasing Sustainable Fabrics and apparels, and under different circumstances.
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Bowlt, John E. "Haberdashery as Ethnography: The Case of Léon Bakst." Experiment 22, no. 1 (November 15, 2016): 139–56. http://dx.doi.org/10.1163/2211730x-12341283.

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The focus of this article is on Léon Bakst’s activities as textile and dress designer during the 1910s and early 1920s, especially in the United States. Particular note is made of his interest in questions of nationality—whether Persian, Indian, Siamese, Jewish or American Indian—as reflected in fabrics and clothing. Bakst’s interaction with American patrons, such as the Garretts, is discussed as are his pedagogical and theoretical concerns.
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Sharma, Rajesh, Richa Arora, and Pradeep John Kerketta. "Carrying Traditions of Vibrant IKAT Ahead –Innovative Approaches through Academia." International Journal for Research in Applied Science and Engineering Technology 10, no. 11 (November 30, 2022): 1903–11. http://dx.doi.org/10.22214/ijraset.2022.47707.

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Abstract: Ikat has been carrying a long history through its vibrant blurred texture, colours, yarns and abstraction in design. Ikat of Odisha has carved its own worldwide identity in traditional textiles and cultures of India. Ikat is on revival again in fashion trends with the support of Indian fashion industry professionals, creating new style statement by Indian designers at national and international platforms. New generation has understood the uniqueness of Ikat fabrics and its design development techniques. Different Ikat style patterns have been developed by designer for latest fashion trends in apparel, home furnishing and other products. New innovative approach in Ikat design pattern with the use of new color schemes, yarns and alternate training & development methods has infused new life for the sustainability of this fabric in future and improving the economy of traditional craftsmen and weavers. Academia can fully participate and cooperate to carry ahead this traditional textile –Ikat for future generations and its sustainability. Younger generation can be given awareness about Ikat techniques and potential of Ikat fabric in fashion trends by imparting training in methods & material in accordance with new age approach and trends. Development and training students on Ikat with handloom & digital tool to come up with new innovations.
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Chaudhury, Sushil. "European Companies and the Bengal Textile Industry in the Eighteenth Century: The Pitfalls of Applying Quantitative Techniques." Modern Asian Studies 27, no. 2 (May 1993): 321–40. http://dx.doi.org/10.1017/s0026749x00011513.

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Bengal textiles enjoyed a unique place and an indisputable supremacy in the world market for centuries before the invasion of the machinmade fabrics in the early nineteenth century following the industrial revolution of the West and Political control of the Indian sub-continent by the English East India Company. It need not be emphasized that the products of the Bengal handloom industry reigned supreme all over the accessible Asian and North African markets in the middle ages, and later became one of the major staples of the export trade of the European Companies. Most travellers from Europe starting with Tomé Pires, Varthema and Barbosa in the sixteenth century to Bernier, Tavernier and others in the seventeenth singled out especially textiles of Bengal for comments on their extraordinary quality and exquisite beauty. But it was not only in the field of high qulity cloth that Bengal had a predominant position; it was also the main Production centre of ordinary and medium quality textiles. Long before the advent of the Europeans, the Asian merchants from different parts of the continent and Indian merchants from various regions of the country derived a lucrative trade in Bengal textiles.
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Uzramma. "The Indian Loom, Climate Change, and Democracy." Comparative Studies of South Asia, Africa and the Middle East 39, no. 2 (August 1, 2019): 233–40. http://dx.doi.org/10.1215/1089201x-7586753.

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Abstract Weaving on the handloom in India remains in the twenty-first century a large industry practiced by several million people, including, besides weavers themselves, others engaged in supporting activities. Indian hand weaving is a potentially viable ecological textile industry for the future, particularly if factors such as environmental damage and social costs are included in measuring viability. However, Indian hand weaving suffers from the perception that it is a relic of the past. Too, in the market it is undercut by cheaply made machine-produced cloth fraudulently sold as handmade. Research into the history of hand weaving revealed that there were two distinct modes of production, one in which expensive cloth was made for the elite, and another in which ordinary cloth was made for ordinary people. Since the making of expensive fabrics needed expensive raw materials, the weavers were dependent on an investor to supply these materials, creating a hierarchic dependency. The vernacular production of cloth, on the other hand, was democratic with lateral relations between the different stages of production. Malkha has simplified spinning by avoiding bale-pressing cotton lint, a technology introduced in colonial times to carry cotton long distances from the field. Malkha spinning centers are substantially smaller in size than conventional mills, closer to the small scales of Indian cotton farming and hand weaving.
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Sharma, Shweta. "SANSKAR BHARTI RANGOLI : MEDIUM TO CONSERVE TRADITIONAL ART OF RANGOLI FROM EXTRINSIC TO INTRINSIC." International Journal of Research -GRANTHAALAYAH 9, no. 10 (November 10, 2021): 266–76. http://dx.doi.org/10.29121/granthaalayah.v9.i10.2021.4338.

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भारतीय संस्कृति एवं कला का अटूट संबंध है जहां संस्कृति की बात आती है वहीं भारतीय कला का रूपांकन नेत्रों में आ जाता है। भारतीय कलाओं में से एक है रंगोली कला। यह भारतीय पारंपरिक फ्लोर आर्ट है जिसे मुख्य द्वार के सामने तथा आँगन में किसी विषेष अवसर अथवा उत्सव व त्यौहारों पर बनाई जाती है, रंगोली न केवल आंगन की सजावट थी अपितु यह ईष्वर के आषीर्वाद प्राप्त करने के लिए, सौभाग्य के लिए एवं अतिथियों के सत्कार के लिए बनाई जाती है। रंगोली के कई प्रकार हैं, उसमें से एक है संस्कार भारती रंगोली जो महाराष्ट्र में अत्यधिक लोकप्रिय है। इसमें कई हिन्दू मान्यता एवं संस्कृति से संबंधित चिन्हों का प्रयोग किया जाता है। संस्कार भारती रंगोली में उपयुक्त होने वाली डिज़ाइनों का होम फर्निषिंग टेक्सटाइल उत्पाद पर विभिन्न वस्त्र अलंकरण जैसे- फैब्रिक प्रिटिंग (ब्लॉक, स्क्रीन प्रिटिंग, स्टेन्षील प्रिटिंग), फैब्रिक प्रिटिंग, एम्ब्रायडरी का उपयोग करना जिससे फैषन उपभोक्ता के लिए अद्वितीय डिज़ाइन बनाने अथवा पारंपरिक कला में उपयुक्त रंग, डिज़ाइन अथवा शैली का उपयोग कर रंगोली कला की डिज़ाइनों को संरक्षित करना है। संस्कार भारती रंगोली में उपयुक्त होने वाली आकृति को वर्ग, डिज़ाइन, समूह डिज़ाइन, के लिए अनुकूलित किया गया था।लेख के लिए कुल दस डिज़ाइन चयनित कर विकसित किए गए थे और फैब्रिक पेंटिंग के द्वारा होमफर्निषिंग टेक्सटाइल पर बनाने के लिए सर्वश्रेष्ठ 05 डिज़ाइन का चयन किया गया। उपभोक्ता के द्वारा भारतीय रंगोली कला संस्कार भारती रंगाली कला का उपयोग कर बनाए गए उत्पाद बहुत सराहे गए। संस्कार भारती रंगोली कला वस्त्रोत्पाद पर प्रयोग करके लेख तैयार किया गया है। Indian culture and Art Share an unwavering Connection between them. Indian art providespicturesque Slide view of Indian culture, Rangoli Art is one of the most prominent art amongIndian Art forms. This is a floor art, which were basically designed and embossed at mainentrance and courtyards. On various auspicious occasions and festivals Rangoli was designed togrant divine blessings of God as well as signifies the prosperity and heartwarming welcome ofguests. There are many varites of Rangoli in IndiaSanskar Bharti Rangoli is one of the most popular rangoli art of Maharashtra. This art formcomprises of many Hindu aesthetics, artifacts and cultural symbols. These symbols bring adistinct feature to Sanskar Bharti Rangoli. This paper aims at conservation of Rangoli art formby shifting its inclination to fabric embossing. These art form can be consummate by fabricprinting (Block, screen printing, stencil printing), fabric printing and embroidery can be used byfashion enjoy to uplift the unique experience of traditional colors, designs and styles to conservethese rangoli art formsSanskar Bharti Rangoli is designed to facilitate compatibility of shape, area design and groupdesign which brings appropriateness to art form. Ten art designs developed for this paper, on thecounter part, five best fabrics painting finalized to paint on Home furnishing Textile. FashionUsers appreciated the products designed with traditional Indian Rangoli art , Sanskar BhartiRangoli. This paper elaborates the efforts and significance of Sanskar Textile fabric,
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Samarawickrama, Rumesh, U. G. S. Wijayapala, N. D. Wanasekara, and C. A. N. Fernando. "Improving Dyeing Properties of Cotton Fabrics to Natural Dyes with Cellulose Nanocrystals (CNCs) [Mejora de las propiedades de teñido de telas de algodón a tintes naturales con nanocristales de celulosa (CNC)]." Journal of Nanotechnology 5, no. 1 (October 19, 2021): 1–8. http://dx.doi.org/10.32829/nanoj.v5i1.141.

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Natural dyes can make less environmental problems associated with manufactured colouring agents and textile dyeing. But, the natural dyes fixing process was used chemicals called mordant. The most of times mordants were used metallic salts and metal salts mordants were not environmentally friendly. Therefore, remove the disadvantage associated with natural colorants and the use of nanoparticles. In this research, cotton fabric was treated with the nanoparticle of cellulose nanocrystals (CNCs) as mordant. The cellulose nanocrystals extraction process was done by using Whatman filter paper. The cellulose nanocrystals obtained will be further analyzed and characterized by using selected tools such as Particle size analysis and Fourier-transform infrared (FTIR) spectroscopy. The cotton fabrics mordanting processes were done by two types of pre-mordanting and post-mordanting methods. The three natural ingredients of Mangifera indica (Mango) leaves, Tectona grandis (Teak) leaves and Lannea coromandelica (Indian ash tree) leaves were used to extract the natural dyes using with aqueous extraction method. The extracts from dyeing processes were carried out after and before mordanting processes. The dyed sample from colour fastness to light, washing, and crocking were assessed according to standard methods. The cellulose nanocrystals gave very good colour fastness to light, wash, and rubbing when dyed with all three dye extractions. In the present study, innovative mordant of cellulose nanocrystals and natural dyeing with three natural dye extractions have been shown to give good dyeing results with cotton fabric.
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Dissertations / Theses on the topic "Indian textile fabrics"

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Tiballi, Anne E. "Castoffs and snippets the textile evidence from Casa Vieja, Ica Valley, Peru /." Online access via UMI:, 2005.

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Thompson, Amanda Jo. "Textiles as indicators of Hopewellian culture burial practices." Connect to this title online, 2003. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1054507830.

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Thesis (Ph. D.)--Ohio State University, 2003.
Document formatted into pages; contains 188 p. Includes bibliographical references. Abstract available online via OhioLINK's ETD Center; full text release delayed at author's request until 2006 June 2.
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MacKay, W. Iain. "The development of pre-Hispanic art forms in Peru : seen as an outgrowth of textile techniques and their influence upon art forms and depiction of symbols." Thesis, University of St Andrews, 1988. http://hdl.handle.net/10023/7359.

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Pre-Hispanic geometric art forms In Peru and the Andean Area are taken to be an outgrowth of textile techniques. Textiles and fibre arts predate ceramics by several millennia In the Central Andean Area. The artist who created these textiles developed an art style which was to go largely unaltered until the arrival of the Spaniards. The foundations of the Andean art form date to the Pre-ceramic. The restrictive, rather Inflexible nature of the warp and the weft of the cloth (the geometric grid) was to influence the methods of represention that were to follow. Geometric designs were well suited to fit Into the rigid framework. A series of conventions were developed for the representation of symbols. With the development of ceramics, there was leeway for a new style to come Into being. However, this was not to be the case. The potter borrowed extensively from the weaving tradition and Its associated styles (only in Moche times did the potter make a break the highly geometric style developed centuries before, and even then this break with tradition was a short lived one). The pre-Columbian artist often portrayed birds, cats, fish and reptiles. Many of these designs were used frequently and repeatedly throughout the centuries, but none, I would maintain. was represented as frequently as the double-headed serpent, and with so few variants. Andean art Is a truly distinctive art form; very different from European art, and through Its geometricity It conveyed and still conveys a totally different approach to nature and the world surrounding Andean man.
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Katterman, Grace. "STYLISTIC ANALYSIS OF TYPE IB AND IC TAPESTRY TUNICS FROM THE MIDDLE HORIZON WARI CULTURE OF ANCIENT PERU." Thesis, The University of Arizona, 1986. http://hdl.handle.net/10150/276904.

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Evans, Elouise Adele. "A DESIGN ANALYSIS OF QUECHQUEMITL FROM THE CORDRY COLLECTION (COSTUME, WEAVING, MEXICAN)." Thesis, The University of Arizona, 1985. http://hdl.handle.net/10150/275304.

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Cheuk, Ka-Kin. "Global fabric bazaar : an Indian trading economy in a Chinese county." Thesis, University of Oxford, 2015. https://ora.ox.ac.uk/objects/uuid:9bab3226-0601-40e1-8342-9bea4919f5e0.

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This thesis is primarily based on ethnographic fieldwork that lasted fifteen months, between 2010 and 2012, in Keqiao, a municipal county in eastern Zhejiang Province, China. Despite its inferior administrative status and rather inland location, Keqiao is China's trading frontier for fabrics, which are the semifinished textiles that are industrially weaved, knitted, dyed, and printed in bulk before being exported. Contributing to the turnover of more than one-third of all fabric produced in China, the county's fabric wholesale market is not only the mainstay of Keqiao's economy. It is also the world's centre for fabric supplies, and where around 10,000 Indians have flocked to start their intermediary trading businesses. The major aim of this thesis is to examine the everyday encounters between Indians and Chinese in the local fabric market. It begins by exploring how Keqiao emerged as the global distribution centre for a wide variety of cheap fabrics. It also shows how Keqiao becomes characterized by the growing importance of low-end fabric sales and the influx of Indian traders, who specialize in exporting these fabrics. The thesis then describes the encounters between Indians and local Chinese in the fabric market, addressing the challenges and difficulties that these Indians, especially the newcomers, confront when dealing with the Chinese suppliers. Focusing on novice traders, the thesis turns to investigate the internal dynamics of Indian trading companies. Remarkably, novice Indian traders successfully learn several strategies to counteract their precarious position in the workplace. These strategies leverage the accumulation of work experience and expanding social networks. These insights bring the thesis to chapters that highlight other strategies, particularly those created from encounters between Indian traders and Chinese clerks, as well as those between Indian traders and Chinese salespersons. Taken together, this thesis illustrates how transnational and local actors team up to create their own, locally based, intermediary economy within a small Chinese county, and how such a collaborative economy, which I term a 'global fabric bazaar', sustains these actors. Without this collaborative economy, these players would otherwise be vulnerable within the fabric wholesale industry because this supply chain is increasingly polarized and weakened by today's global capitalism.
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Borneke, Amanda, and Emelie Oldensjö. "From Farm to Fabric : A Measurement of the Sustainability in a Textile Production in Northern India." Thesis, Linköpings universitet, Tema Miljöförändring, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-118005.

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A value chain for a textile production can be described as transforming a crop into a textile, then turn the textile into a fabric, then create a product from that fabric - a horizontal chain from farm to fabric. This paper analyses the different activities within a value chain of a sustainable textile production in India to understand where, and how, sustainable value is added at each stage. The transformation from farm to fabric involves many stages such as farming, yarn manufacturing, dyeing, fabric manufacturing, finishing and storage. The case study was performed as a) explaining the triple bottom line theory (3BL) and how it is used as a theoretical framework b) defining the key processes of Avani’s textile production in India c) visualising the value chain of Avani’s textile production based on semi-structured interviews and d) discussing the global textile industry with the 3BL to measure sustainability. The social bottom line in Avani’s textile production is the most sustainable dimension and the economic sustainability is not far behind. The environmental dimension is the weakest measured due to the lack of information to the employees. Future research with long-term measurement with dimensions as environmental, economic and social need to be done in able to refine and define sustainability in textile production but most of all to the counteraction of environmental devastation.
En värdekedja för en textilproduktion kan beskrivas genom att omvandla en gröda till en textil, textil till ett tyg och sedan skapa en produkt av det tyget - en horisontell kedja från gröda till tyg. Denna uppsats analyserar olika processer inom en värdekedja i en hållbar textilproduktion i Indien för att förstå var, och hur, ett hållbart värde sker i varje process. Omvandlingen från gröda till tyg innebär många steg, såsom jordbruk, garntillverkning, färgning, tygtillverkning, efterbehandling och lagring. Fallstudien genomfördes genom att a) förklara teorin triple bottom line (3BL) och hur den används som ett teoretiskt ramverk b) definiera de viktigaste processerna för Avanis textilproduktion i Indien c) visualisera värdekedjan från Avanis textilproduktion baserat på semi-strukturerade intervjuer och d) diskutera den globala textilindustrin med 3BL för att mäta hållbarheten. Den sociala grunden i Avanis textilproduktion är den mest hållbara dimensionen och den ekonomiska hållbarheten är inte långt efter. Den ekologiska dimensionen är den svagaste uppmätta på grund av bristande information till de anställda. Framtida forskning med långtidsperspektiv med dimensioner som miljömässiga, ekonomiska och sociala måste göras för att förfina och definiera hållbarhet i textilproduktion men mest av allt för att motverka miljöförstöring.
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Dransart, Penny. "Fibre to fabric : the role of fibre in Camelid economies in prehispanic and contemporary Chile." Thesis, University of Oxford, 1991. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.670298.

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Dalal, Mohamed. "Contribution à l'étude de la saturation des tissus simples et multicouches : tissus 2D et 3D." Phd thesis, Université de Haute Alsace - Mulhouse, 2012. http://tel.archives-ouvertes.fr/tel-00841290.

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Le tissu est réalisé par un entrecroisement, appelé armure [1], de 2 réseaux de fils, un longitudinal et un transversal 2D et de plus de 2 réseaux 3D. Les propriétés de ces tissus seront fonction de la quantité de fil insérable dans l'armure, quantité dont la limite doit être déterminée de façon précise. Hors, à ce jour, cette limite est très mal connue [2]. Donc, l'utilité principale du calcul des limites de tissabilité est de savoir si un tissu 2D ou 3D est réalisable ou non sur une machine à tisser. Les coefficients de difficulté permettent d'éviter des productions endommageant le matériel et aussi d'apprécier a priori les problèmes de rendement de production des articles proches des limites de tissabilité tel que les tissus techniques. Il est d'autre part possible de déduire certaines caractéristiques techniques de l'article réalisé. Ces calculs peuvent en effet quantifier le serrage des fils entre eux et permettre de déduire les caractéristiques mécaniques et physiques. Les raisons motivant ces recherches sont d'une part d'éviter un surcoût de production en essayant de tisser un article, 2D ou 3D, impossible à tisser et d'autre part de diminuer les casses des fils et l'usure des éléments de la machine à tisser à cause d'une surcharge sur le métier à tisser pendant l'opération de tissage. Après la mise en place d'un plan d'expérience de tissage, l'étude des propriétés mécaniques et physiques d'un nombre représentatifs de tissus 2D et 3D et la modélisation des structures tissées a permis de proposer de nouvelles équations de saturations et de limite de tissabilité en particulier pour le 3D [3]. Par ailleurs, à partir de ces équations, il est possible de prévoir, pour une contexture et une armure donnée en 2D ou 3D, la masse maximale de fil insérable dans le tissu ainsi que la difficulté qui sera rencontrée lors du tissage. Les relations théoriques nouvelles proposées, indices de saturation numérique et indice de saturation massique ont été confirmées par les résultats expérimentaux et Il a été conclu que les équations et abaques qui en découlent sont des outils utiles pour l'industrie de tissage traditionnel et technique.
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Mace, Mariana L. "Plains Indian decorated saddle blankets : development of an innovative art form /." 1991. http://hdl.handle.net/1957/14643.

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Books on the topic "Indian textile fabrics"

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Nicholas, Barnard, ed. Indian textiles. London: Thames & Hudson, 2008.

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Nicholas, Barnard, ed. Indian textiles. New Delhi: Om Books International, 2008.

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Gillow, John. Indian textiles. London: Thames & Hudson, 2008.

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Galloway, Francesca. Indian miniatures: Textile art. London: Francesca Galloway, 1994.

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Singh, I. B. Indian textiles: A select bibliography. Varanasi: Bharat Kala Bhavan, Banaras Hindu University, 1986.

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Allen, Carter. The weavers way: Navajo profiles. Tucson, Ariz: Carter Allen, 2003.

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Amin, Patel Krishna, National Institute of Design, and India. Office of the Development Commissioner for Handlooms., eds. Of fibre and loom: The Indian tradition. Ahmedabad: National Institute of Design, 2008.

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Amsden, Charles Avery. Navaho weaving: Itstechnic and history. New York: Dover, 1991.

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Amsden, Charles Avery. Navaho weaving: Its technic and history. New York: Dover Publications, 1991.

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Anton, Ferdinand. Ancient Peruvian textiles. New York, N.Y: Thames and Hudson, 1987.

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Book chapters on the topic "Indian textile fabrics"

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Sugimoto, Seiko. "Handkerchiefs, Scarves, Sarees and Cotton Printed Fabrics: Japanese Traders and Producers and the Challenges of Global Markets." In Textile Trades, Consumer Cultures, and the Material Worlds of the Indian Ocean, 79–104. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-58265-8_4.

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Styles, John. "Re-fashioning Industrial Revolution. Fibres, fashion and technical innovation in British cotton textiles, 1600-1780." In La moda come motore economico: innovazione di processo e prodotto, nuove strategie commerciali, comportamento dei consumatori / Fashion as an economic engine: process and product innovation, commercial strategies, consumer behavior, 45–71. Florence: Firenze University Press, 2022. http://dx.doi.org/10.36253/978-88-5518-565-3.06.

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The early years of the British Industrial Revolution were dominated by mechanical innovations in cotton spinning. They emerged at a time when raw cotton prices were unprecedentedly high and the supply of all-cotton fabrics from India, the world’s principal producer of cotton textiles, had contracted dramatically. Most «cotton» textiles manufactured in Britain in the mid-18th century were combinations of expensive cotton yarn and cheap linen yarn. Faced with rising material costs, manufacturers economised by increasing the proportion of cheaper linen yarn. The most fashionable cotton products were, however, made entirely from cotton, or required a fixed proportion of cotton yarn. As the cost of cotton rose, their rapidly rising sales provided the principal inducement to improve quality and cut costs by inventing machines for spinning cotton yarn.
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Prestholdt, Jeremy. "The Fabric of the Indian Ocean World: Reflections on the Life Cycle of Cloth." In Textile Trades, Consumer Cultures, and the Material Worlds of the Indian Ocean, 385–96. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-58265-8_14.

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Dua, Madhumita. "FUTURISTIC MARKETING TRENDS IN TEXTILE INDUSTRY IN INDIA." In Futuristic Trends in Management Volume 3 Book 22, 131–37. Iterative International Publisher, Selfypage Developers Pvt Ltd, 2024. http://dx.doi.org/10.58532/v3bhma22p2ch1.

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The textile Industry is very sound in generating employments. Skilled, semi-skilled and unskilled labor is getting employment in the textile industry. The objective of the study is to find out what kind of fabric and under what budget would be preferred in the next few years. “Vocal for Local” suggests that Indians must prefer buying fabrics made in India. The textile exports account for nearly 8-9% of the total exports from the country. The trends include creating recyclable clothing that can create sustainability for the generations to come.
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Roy, Rupayan, R. Ashmika, Kritika Sinha, and Ratna Priya. "Threads of Tradition." In Promoting Multi-Sector Sustainability With Policy and Innovation, 1–37. IGI Global, 2024. http://dx.doi.org/10.4018/979-8-3693-2113-3.ch001.

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This chapter offers an in-depth analysis of India's rich textile tradition and provides insights into the significance of textiles in the nation's culture and history. It covers a variety of fabrics, methods, and traditions while examining the subcontinent's astounding diversity in traditional textiles. Additionally, the chapter provides an overview of important concepts, such as historical development, craftsmanship, cultural value, regional differences, modern adaptations, iconic fabrics, and the function of traditional clothing. It clarifies efforts at revival and preservation, the value of sustainability, and modern interpretations in relation to conventional textiles. Along with the importance of sustainable practises and new trends that show promise for the future challenges; directions in sustaining these time-honored traditions are highlighted.
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Antunes, Luís Frederico Dias. "African Cotton : Cultural and Economic Resistance in Mozambique in the Mid-Eighteenth Century." In In-Between Textiles, 1400–1800. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2023. http://dx.doi.org/10.5117/9789463729086_ch12.

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This chapter examines the power of textiles to re-negotiate local identities and global dependencies in eighteenth-century Mozambique. The plantation of cotton and its manufacturing into textiles, the chapter argues, must be considered a deliberate act of resistance against Portuguese colonial rule and Indian traders’ monopoly power. Their aim to foster the consumption of Asian fabrics among residents of the Zambezi River valley fuelled the trade in slaves and ivory, a cycle of dependencies disrupted by native cotton.
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North, Susan. "Manufacturing Linens." In Sweet and Clean?, 162–77. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198856139.003.0007.

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The processing and marketing of linens expressly for use in underwear and accessories is examined in Chapter 7. The labour-intensive raising and refining of flax is described and the qualities desired in the finished textile are examined—fine, hardwearing, and washable. The property of whiteness demanded by propriety and which represented the cleanliness required by medical advice was particularly important. Centres of production, preferred brands, government support of linen production, and pricing are discussed, as well as the significance of imported plain white calicos from India as a suitable fabric for accessories and underwear.
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Neppolian, B., S. Sakthivel, Banumathi Arabindoo, M. Palanichamy, and V. Murugesan. "Photocatalytic degradation of textile dye commonly used in cotton fabrics." In Recent Advances In Basic and Applied Aspects of Industrial Catalysis, Proceedings of 13th National Symposium and Silver Jubilee Symposium of Catalysis of India, 329–35. Elsevier, 1998. http://dx.doi.org/10.1016/s0167-2991(98)80304-2.

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"Chapter 2 The Tell-Tale Textile: Fabric and Emotions in Mughal Hindustan." In The Art of Cloth in Mughal India, 71–104. Princeton University Press, 2022. http://dx.doi.org/10.1515/9780691232133-004.

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Sardar, Marika. "Dressing in the Deccan." In In-Between Textiles, 1400–1800. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2023. http://dx.doi.org/10.5117/9789463729086_ch07.

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In the Deccan region of India between the mid-sixteenth and the mid-seventeenth centuries, this chapter argues, textiles from a variety of both foreign and domestic sources were an integral part of social life. Deccani portraits of this period document the astonishing variety of fabrics available to the local elite, and carefully differentiate the costume of the figures depicted, in a manner that reflects the sitters’ range in social status, ethnic background, and political aspirations. This chapter examines the extent to which such novel engagement with clothing mobilised what Bhabha calls the “identity effects” of dressing. In the courtly world of the Deccan, characterised by cultural diversity, textiles could serve the purpose of encoding notions of origin, belonging, and affiliations, as well as a broader repertoire of possible identifications. Dress was thus an intricate part of establishing identity in the Deccani political milieu.
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Conference papers on the topic "Indian textile fabrics"

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Sánchez-Martínez, Ainhoa, Mira Martínez Alejandro, Mira Penalva Inés, Belda Anaya Raquel, Ignacio Montava, and Jaime Gisbert-Payá. "Influence of Laccase Enzyme on the Biodegradability of Indigo Blue Dyed 100% Cotton Fabrics." In 22th AUTEX World Textile Conference. Switzerland: Trans Tech Publications Ltd, 2024. http://dx.doi.org/10.4028/p-3yythr.

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A bstract: Improving the environmental impact of textile waste is essential for the good functioning of the planet, as it is not viable to prolong the recycling of textile materials indefinitely due to the loss of properties. The presence of dyes in fabrics is a key point to study from the perspective of biodegradability, as the presence of these dyes in effluents is widely studied due to their high polluting impact on water. This project has analysed whether the presence of dyes in fabrics affects their biodegradability process. In addition, it has been studied whether finishing with laccase enzyme, which is usually used to purify the wastewater from the dyes of the indigo blue dye used, influences the degradation of the fabric. For this purpose, dyed and undyed cotton fabrics impregnated with this enzyme were analysed. Following the proposed measurement protocol, it has been defined that fabrics dyed with the indigo blue dye (VAT BLUE I) have a positive influence on degradation, while the presence of small doses of compounds added to the fibres, such as the laccase enzyme studied in this case, can lead to the generation of deviations in the biodegradability of the sample. Although the efficiency and efficacy of this enzyme in dye degradation under anaerobic conditions has been demonstrated, under compost conditions its effectiveness decreases and negatively influences the biodegradability process. No ecotoxicity is shown in soil after the biodegradation process. Keywords:Sustainability; laccase; vat dye;textile; environment; burial.
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P, Sathish, and Jeyakodi Moses J. "A Study on Silk Fabric Applied with Eco-Friendlycolorants for the Enhancement of Textile Properties." In Proceedings of the First International Conference on Combinatorial and Optimization, ICCAP 2021, December 7-8 2021, Chennai, India. EAI, 2021. http://dx.doi.org/10.4108/eai.7-12-2021.2314741.

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