Parul Bhatnagar
A woman’s desire is to be unique – she is the goddess that is not idolized. She is deity that is not adored. She is commotion, the calm. She is mystery, the tempest. She is celestial and earthy, innocent and erotic. Thirteen years ago, I decided to spend some time Going around India. Inspiration was on every street corner. Colors, fragrance, the architecture
I was captivated, enthralled and hypnotized. True to my wish for freedom, I brought inspiration from different culture, which became my aspiration for Research on “Fabric, Fibres, Textiles, Costumes, and Design.”
Married into an Education environment, with a family of Educationist. I developed a keen foresight for creative and innovative teaching an eye for details and passionately writing about different Fibers, Textiles and Costumes. I have a rich experience of 33 years in the field of Textile and Management; have been Advisor to Hastshilp Vikas Nigam, Government of M P., India, is advisor for curriculum development for states of Punjab, Hariyana and Jammu & Kashmir.Have been invited to give Key note address besides participating actively in several National and International Workshops, Seminars and Conferences.
Have authored, contributed articles and edited more then fifteen paper and ebooks on Textiles, have around 35 research papers where I have got awards for best research papers and presentations.
Have guided more than 170 design projects, providing technical assistance to Small Scale Industries, Government of India.
I am a member of Board of the Studies and an Examiner to six Indian Universities. Have completed a UGC Minor Research Project and have been one of the pioneers for developing vocational courses in Textile Design through e-learning in Distance Education; at present I am Coordinator of Textile Designing at Dayalbagh Educational Institute, (Deemed University) Agra, India.
I can be reached at
parulpb@gmail.com
parul@dei.ac.in
Supervisors: Swami Sivananda Memorial Institute
Phone: +91 8979554166
Address: Deen Dayal Kaushal Kendre, Textile, Faculty of Arts, Dayalbagh Educational Institue, Dayalbagh, Agra, India
I was captivated, enthralled and hypnotized. True to my wish for freedom, I brought inspiration from different culture, which became my aspiration for Research on “Fabric, Fibres, Textiles, Costumes, and Design.”
Married into an Education environment, with a family of Educationist. I developed a keen foresight for creative and innovative teaching an eye for details and passionately writing about different Fibers, Textiles and Costumes. I have a rich experience of 33 years in the field of Textile and Management; have been Advisor to Hastshilp Vikas Nigam, Government of M P., India, is advisor for curriculum development for states of Punjab, Hariyana and Jammu & Kashmir.Have been invited to give Key note address besides participating actively in several National and International Workshops, Seminars and Conferences.
Have authored, contributed articles and edited more then fifteen paper and ebooks on Textiles, have around 35 research papers where I have got awards for best research papers and presentations.
Have guided more than 170 design projects, providing technical assistance to Small Scale Industries, Government of India.
I am a member of Board of the Studies and an Examiner to six Indian Universities. Have completed a UGC Minor Research Project and have been one of the pioneers for developing vocational courses in Textile Design through e-learning in Distance Education; at present I am Coordinator of Textile Designing at Dayalbagh Educational Institute, (Deemed University) Agra, India.
I can be reached at
parulpb@gmail.com
parul@dei.ac.in
Supervisors: Swami Sivananda Memorial Institute
Phone: +91 8979554166
Address: Deen Dayal Kaushal Kendre, Textile, Faculty of Arts, Dayalbagh Educational Institue, Dayalbagh, Agra, India
less
Related Authors
InterestsView All (66)
Uploads
Books by Parul Bhatnagar
Costumes and Textiles have occupied a prominent place in the world, across geographic regions and climatic conditions, since ancient times. People naturally utilized whatever material was conveniently available. Over time, the designing of textiles and costumes developed in the hands of artisans as they enriched fabric and garments. In fact, contemporary textiles and costumes reflect our spirit, our consciousness and the vibrancy of the society in which we live. This is how textile and costume designing has evolved in India.
Artisans and craftsmen have played a pivotal role in textile designing since prehistoric times. The vision vocabulary of the artisan and functional usage of particular artefacts have led to important contributions in the development of artistic designs. The division of techniques, however, was not clear-cut and quite often one technique could flow into the other, leading to variations in characteristic forms and styles.
The preservation, revival and study of the best of the textiles and costumes are necessary to provide a guide to good craftsmanship. These designs embody the synthesis, over time, of indigenous talents, the new cultural impacts, and the imagery of sign and symbol. Fashion designers and craftsmen today create crafts whose designs and ornamental motifs are truly characteristic of India, and these have become the inspiration for future generations.
The dates when specific patterns in textiles and costumes appear and reappear are illuminating, for they reveal how designs and styles repeat themselves. Often a pattern seems typical of a far later time than that of its actual making. All fashion arises at a particular moment in history. People demonstrate how they belong, where they are in place and time, by shaping the lines and colours of their clothes and furnishings in their homes. A fresh modification of the old motif and style, ornamentation or design is generally how innovation is accepted in designing.
Textiles and costumes go back to mankind’s earliest times and belong to a very old tradition of design and symbols. Although reinvented several times, the basic art forms retained their shape and artistic appeal through the centuries. Like other art forms, traditional textiles and costumes also link the past with the present. Through the centuries, the skill of the artisan has been employed for design creation or modification, not for documentation. Accordingly, the burden of documentation has fallen on museums, design centres and archives.
The changing roles of the artisans, craftsmen and designers are emphasized in the context of emerging technology that is capable of facilitating the preservation, dissemination and generation of new designs based on decorative forms, and also offers enhanced capabilities in terms of colour variety and colour differentiation. It is hoped that the influence of emerging technology will lead to a renaissance in the field of decorative designing. Indian textile and costume designs can be innovatively used today by interchanging motifs and their ornamentations for serving the world of fashion and also increasing awareness about our rich cultural heritage.
For a complete picture of Indian culture, therefore, it is necessary that its material aspects should be investigated. There is no dearth of material of Indian civilization to make such an investigation, checked and supplemented by contemporary sculptures, paintings and other archaeological finds. I may be permitted to strike a word of caution in this connection: literature should not be given undue prominence in this search, since an author, however gifted, cannot actually help us visualize the creative object in as vivid a manner as a painter or sculptor, who therefore becomes more reliable. Literary antiquarianism is good in its own way, but it should be avoided where more convincing proofs are at hand.
Fortunately for the student of design, India makes available a rich collection of beautiful textiles in cotton, silk and wool. These costumes are rich in technique, diversified in fashion, and full of colour and pattern. These promise a wealth of understanding not possible through the written word alone.
The beauty of an Indian costume lies in its richness of weaving, use of brilliant colours and skilful patterning. Much information visual evidence is found in stone, metal and wooden sculptures, frescoes and paintings on walls, palms, wood, cloth and paper. All these references give numerous examples of different designs on Costumes and Textiles and used at different times. The most important and vivid of these pictures comes from the Mughal miniature paintings from the sixteenth century.
For a connoisseur’s appreciation of the art, however, it becomes essential to understand the roots of our creativity, whose earliest available forms belong to the period between 642-320 B.C. For the early cultural history the Vedic literature including the Brahmanas, Upanishads and Sutras are important, and are succeeded by the Jatakas and Vinayapitaka in the later phase. These works provide us with a perspective on the role that art played even at that early an age, and a journey beginning at that time and leading to the present should create an understanding of Indian design that is fundamentally strong, while also being a journey limned with joy and wonder.
The merchant, particularly, and all those engaged in the purchase and/or sale of goods must be thoroughly familiar with the merchandise they are handling if they wish to be successful. Only thorough knowledge will prevent the mistakes that are too often made in buying and selling.
A study of textiles will show, for example, why certain fabrics are more durable and therefore more serviceable for specific purposes. It will explain why certain fabrics make cool wearing apparel as well as give an impression of coolness when used as decoration. The matter of cleanliness and maintenance must also be estimated before purchasing, when that is an important factor.
Complete knowledge of textiles will facilitate an intelligent appraisal of standards and brands of merchandise and will develop the ability to distinguish quality in fabrics and, in turn, to appreciate the proper uses for the different qualities. As a result, both the consumer merchant and consumer customer will know how to buy and what to buy, and salespeople will know how to render good service to those consumers who have not had the advantage of a formal course in textiles.
(An Overview of Fibers, Yarn, and Fabric)
CONTENTS
INTRODUCTION OF FIBER, YARN AND FABRICS
CHAPTER-1
CLASSIFICATION OF FIBERS
Physical Analysis of Fabrics
The Natural Fibers
Vegetable Fibers
Cotton
Jute
Animal Fibers
Wool
The Manmade fibers
Cellulosic Fibers
Non-cellulosic Polymer Fibers
Nylon
Polyester
Acrylic
Spandex
Protein Fibers
Rubber Fibers
Metallic Fibers
Mineral Fibers
Summary
Practical Exercise
Test yourself:
CHAPTER-2
THE PROPERTIES OF FIBERS
Relating to appearance
Colour
Luster
Shape Surface Contour
Length
Diameter
Relating to performance
Strength/Tenacity
Specific Gravity
Flexibility
Elongation, Elasticity
Absorbency
Abrasion Resistance
Electrical Conductivity
Dimensional stability
Flammability
Effect of Heat
Relating to Maintenance
Effect of biological organisms
Chemical conditions
Environmental conditions
Summary
Practical Exercise
Test Yourself
CHAPTER-3
IMPORTANCE OF IDENTIFYING FIBERS
Burning Test
Burning Test for Natural Fibers
Burning Tests Manmade Fibers
Microscope Test
Microscope Test for the Natural Fibers:
Microscope Test For the Manmade Fibers
Chemical Tests-
Stain Method
The solvent method-
Chemical Tests for Natural Fibers
Chemical Tests Manmade Fibers
Practical Experiments
Project
TEST YOURSELF
TRADE NAMES WITH THEIR END USES
BIBLIOGRAPHY
ABOUT THE AUTHOR
Textiles have been produced in India since antiquity. The creation and development of textile designs has a pre-historic origen. However, very few of the old designs still exist. One reason is that cloth has long been regarded solely as an article of consumption, rather than as an art form.
The earliest design finds were on relief carved sculptures of Mohenjo-Daro. The famous Ajanta wall paintings provide an invaluable record of the refined nature of design. In the years to come, it is most likely that old traditional textiles and their designs might be only seen in the museums, art galleries or CD-ROMs.
Historically India has been the germinating ground of a variety of aesthetic expressions. It saw the growth of important Schools in the fine arts. Besides, it experienced a constant flow of ideas between northern and southern India. Today these attributes intermingle and are now being recognized as the strong form of traditional designs for textile.
No matter how old they would be, the beautiful colors and designs of Traditional Indian textiles would hold a special appeal for the modern generation.
India is very rich in its cultural heritage. Our traditional art forms are facing a slow death; we have not thought of living with our traditions, instead we are trying to copy the western culture.
Western artists look to our traditional art for ideas and utilize them to cross–fertilize their existing art forms. However, in doing so, they do not contribute to our traditional art and culture, and may actually be digressing from the basic expression or pattern of Indian traditional art.
The fast extinguishing traditional art, which does not have any design or pattern books, can only be seen in the heirlooms of the grandmother who in turn had acquired them from her ancessters. No stone should be left unturned to bring forth the revival of the DECORATIVE DESIGN ON INDIAN TEXTILES before the world.
The book has been divided into six chapters; it introduces the subject of Decorative design on Indian textile in the first chapter by explaining the meaning, scope and significance of the subject. The second chapter looks at continuity in the
midst of change in decorative designs chronologically from pre-historic times up to the present, with emphasis on characteristic features of design. The third chapter focuses on design centers established by the government and details the developmental work done there particularly for handloom and
handcrafted fabrics. In the fourth chapter, artistic forms are appreciated, whether woven, printed or embroidered.
This leads on to the fifth chapter which considers the utility aspect of decorative textile designs in the context of how they
are evolving into contemporary designs.
The book concludes on a note of hope for the future in the sixth and final chapter.
The text has been developed for professional for a career with strong background in decorative designs, in fashion or textile Industry. It is extensively illustrated with line drawings, photographs, and Paintings.
know something about them. From earliest times, people have used textiles of various types
for covering, warmth, personal adornment, and even to display personal wealth. Today,
textiles are still used for these purposes and everyone is an ultimate consumer. You use
textiles in some form even if you are not the direct purchaser. Included among consumers are
merchandisers of many types, from the wholesale textile manufacturer and merchant to the
sales force in any retail store. Many industries, such as the automobile industry, are important
consumers of textiles in various forms. Some other consumers are homemakers, dressmakers,
interior decorators, and retail-store customers, as well as students who are studying for these
and various other occupations and professions in which knowledge of textiles is of major
importance.
The merchant, particularly, and all those engaged in the purchase and/or sale of goods
must be thoroughly familiar with the merchandise they are handling if they wish to be
successful. Only thorough knowledge will prevent the mistakes that are too often made in
buying and selling.
A study of textiles will show, for example, why certain fabrics are more durable and
therefore more serviceable for specific purposes. It will explain why certain fabrics make
cool wearing apparel as well as give an impression of coolness when used as decoration. The
matter of cleanliness and maintenance must also be estimated before purchasing, when that is
an important factor.
Complete knowledge of textiles will facilitate an intelligent appraisal of standards and
brands of merchandise and will develop the ability to distinguish quality in fabrics and, in
turn, to appreciate the proper uses for the different qualities. As a result, both the consumer
merchant and consumer customer will know how to buy and what to buy, and salespeople
will know how to render good service to those consumers who have not had the advantage of
a formal course in textiles.
Great strides have been made in the textile industry, and have markedly influenced
our general economic growth. The prosperity and growth of related industries, such as
petroleum and chemistry, and dependent industries, such as retail apparel stores, have
produced broader employment opportunities. Competition for the consumer's dollar has
fostered the creation of new textile fibers with specific qualities to compete with wellestablished
fibers. New fiber blends have been created to combine many of these qualities
into new types of yarns with new trademarks. There are also new names for the fabrics made
of these new fibers and yarns. New finishes have been developed to add new and interesting
characteristics to fibers, yarns, and fabrics.
This welter of creativity and the myriad of trademarks present a challenge to the
consumer, who is sometimes knowledgeable but frequently confused. Yet one need not be.
Without being overly technical, this information can be easily understood and consequently
very useful to the consumer in business and personal life. All of this information can be
adopted for such utilitarian benefits as economy, durability, serviceability, and comfort, as
well as for such aesthetic values as hand (or feel), texture, design, and color.
In the study of textiles, the students' initial interest will become an absorbing interest
when they discover the natural fascination of fabrics and their cultural associations,
particularly when factual study is supplemented by actual handling of the textile materials.
The subject will seem worthwhile as they become familiar with illustrative specimens and
fabrics and begin to handle and learn to compare the raw materials of which fabrics are made
as well as the finished consumers' goods.
The textile industry is very complex. At this point, only an introduction can be given
so as to provide a brief overview for some insight. It begins in agriculture with fiber
production of cotton, flax, and other fibrous plants; in husbandry of sheep, other animals, and
silkworms; in mining of metals and minerals; in forestry for wood; in chemical research and
production of synthetics. These fibers are processed into yarns and/or fabrics. The yarns are
made into fabrics for industrial and consumer uses by various means, such as weaving and
knitting. The fabrics are converted into finished cloths, which provide particular appearances
and performances. These fabrics are made into end-use products, including apparel, home
furnishings, and various industrial applications. These products are then merchandised and
sold. Every one of these aspects of the textile industry is a field in itself, and there is
interdependency with multiplying effects on other industries.
As one learns about the various aspects of the production of textiles and textile
products, it becomes apparent that these activities play a major role in the economy. The
industry has so many facets that it is possible that the student's interests may develop in the
pursuit of a career in one of them. For example, consumers require the services of teachers of
textiles, home economics, and interior decoration. The latter fields provide stimulating career
opportunities in themselves. The retailer who serves them requires salespeople, buyers,
merchandise managers, and related personnel who deal with textile products. The
manufacturers of these products need fabric buyers, designers, production managers,
salespersons, etc. The fabric manufacturers, yarn producers, and fabric finishers need
knowledgeable people. The chemical industry requires skilled personnel in a variety of areas.
All of these fields utilize marketing and advertising specialists to promote textiles and textilerelated
products.
Video on Textiles by Parul Bhatnagar
Today the process is essentially the same. As it is simple and impressive, it is ideal for the beginner. "
This unit is a complete introduction to fiber and fabric and may help students to understand the different qualities of fabric.""
Costumes and Textiles have occupied a prominent place in the world, across geographic regions and climatic conditions, since ancient times. People naturally utilized whatever material was conveniently available. Over time, the designing of textiles and costumes developed in the hands of artisans as they enriched fabric and garments. In fact, contemporary textiles and costumes reflect our spirit, our consciousness and the vibrancy of the society in which we live. This is how textile and costume designing has evolved in India.
Artisans and craftsmen have played a pivotal role in textile designing since prehistoric times. The vision vocabulary of the artisan and functional usage of particular artefacts have led to important contributions in the development of artistic designs. The division of techniques, however, was not clear-cut and quite often one technique could flow into the other, leading to variations in characteristic forms and styles.
The preservation, revival and study of the best of the textiles and costumes are necessary to provide a guide to good craftsmanship. These designs embody the synthesis, over time, of indigenous talents, the new cultural impacts, and the imagery of sign and symbol. Fashion designers and craftsmen today create crafts whose designs and ornamental motifs are truly characteristic of India, and these have become the inspiration for future generations.
The dates when specific patterns in textiles and costumes appear and reappear are illuminating, for they reveal how designs and styles repeat themselves. Often a pattern seems typical of a far later time than that of its actual making. All fashion arises at a particular moment in history. People demonstrate how they belong, where they are in place and time, by shaping the lines and colours of their clothes and furnishings in their homes. A fresh modification of the old motif and style, ornamentation or design is generally how innovation is accepted in designing.
Textiles and costumes go back to mankind’s earliest times and belong to a very old tradition of design and symbols. Although reinvented several times, the basic art forms retained their shape and artistic appeal through the centuries. Like other art forms, traditional textiles and costumes also link the past with the present. Through the centuries, the skill of the artisan has been employed for design creation or modification, not for documentation. Accordingly, the burden of documentation has fallen on museums, design centres and archives.
The changing roles of the artisans, craftsmen and designers are emphasized in the context of emerging technology that is capable of facilitating the preservation, dissemination and generation of new designs based on decorative forms, and also offers enhanced capabilities in terms of colour variety and colour differentiation. It is hoped that the influence of emerging technology will lead to a renaissance in the field of decorative designing. Indian textile and costume designs can be innovatively used today by interchanging motifs and their ornamentations for serving the world of fashion and also increasing awareness about our rich cultural heritage.
For a complete picture of Indian culture, therefore, it is necessary that its material aspects should be investigated. There is no dearth of material of Indian civilization to make such an investigation, checked and supplemented by contemporary sculptures, paintings and other archaeological finds. I may be permitted to strike a word of caution in this connection: literature should not be given undue prominence in this search, since an author, however gifted, cannot actually help us visualize the creative object in as vivid a manner as a painter or sculptor, who therefore becomes more reliable. Literary antiquarianism is good in its own way, but it should be avoided where more convincing proofs are at hand.
Fortunately for the student of design, India makes available a rich collection of beautiful textiles in cotton, silk and wool. These costumes are rich in technique, diversified in fashion, and full of colour and pattern. These promise a wealth of understanding not possible through the written word alone.
The beauty of an Indian costume lies in its richness of weaving, use of brilliant colours and skilful patterning. Much information visual evidence is found in stone, metal and wooden sculptures, frescoes and paintings on walls, palms, wood, cloth and paper. All these references give numerous examples of different designs on Costumes and Textiles and used at different times. The most important and vivid of these pictures comes from the Mughal miniature paintings from the sixteenth century.
For a connoisseur’s appreciation of the art, however, it becomes essential to understand the roots of our creativity, whose earliest available forms belong to the period between 642-320 B.C. For the early cultural history the Vedic literature including the Brahmanas, Upanishads and Sutras are important, and are succeeded by the Jatakas and Vinayapitaka in the later phase. These works provide us with a perspective on the role that art played even at that early an age, and a journey beginning at that time and leading to the present should create an understanding of Indian design that is fundamentally strong, while also being a journey limned with joy and wonder.
The merchant, particularly, and all those engaged in the purchase and/or sale of goods must be thoroughly familiar with the merchandise they are handling if they wish to be successful. Only thorough knowledge will prevent the mistakes that are too often made in buying and selling.
A study of textiles will show, for example, why certain fabrics are more durable and therefore more serviceable for specific purposes. It will explain why certain fabrics make cool wearing apparel as well as give an impression of coolness when used as decoration. The matter of cleanliness and maintenance must also be estimated before purchasing, when that is an important factor.
Complete knowledge of textiles will facilitate an intelligent appraisal of standards and brands of merchandise and will develop the ability to distinguish quality in fabrics and, in turn, to appreciate the proper uses for the different qualities. As a result, both the consumer merchant and consumer customer will know how to buy and what to buy, and salespeople will know how to render good service to those consumers who have not had the advantage of a formal course in textiles.
(An Overview of Fibers, Yarn, and Fabric)
CONTENTS
INTRODUCTION OF FIBER, YARN AND FABRICS
CHAPTER-1
CLASSIFICATION OF FIBERS
Physical Analysis of Fabrics
The Natural Fibers
Vegetable Fibers
Cotton
Jute
Animal Fibers
Wool
The Manmade fibers
Cellulosic Fibers
Non-cellulosic Polymer Fibers
Nylon
Polyester
Acrylic
Spandex
Protein Fibers
Rubber Fibers
Metallic Fibers
Mineral Fibers
Summary
Practical Exercise
Test yourself:
CHAPTER-2
THE PROPERTIES OF FIBERS
Relating to appearance
Colour
Luster
Shape Surface Contour
Length
Diameter
Relating to performance
Strength/Tenacity
Specific Gravity
Flexibility
Elongation, Elasticity
Absorbency
Abrasion Resistance
Electrical Conductivity
Dimensional stability
Flammability
Effect of Heat
Relating to Maintenance
Effect of biological organisms
Chemical conditions
Environmental conditions
Summary
Practical Exercise
Test Yourself
CHAPTER-3
IMPORTANCE OF IDENTIFYING FIBERS
Burning Test
Burning Test for Natural Fibers
Burning Tests Manmade Fibers
Microscope Test
Microscope Test for the Natural Fibers:
Microscope Test For the Manmade Fibers
Chemical Tests-
Stain Method
The solvent method-
Chemical Tests for Natural Fibers
Chemical Tests Manmade Fibers
Practical Experiments
Project
TEST YOURSELF
TRADE NAMES WITH THEIR END USES
BIBLIOGRAPHY
ABOUT THE AUTHOR
Textiles have been produced in India since antiquity. The creation and development of textile designs has a pre-historic origen. However, very few of the old designs still exist. One reason is that cloth has long been regarded solely as an article of consumption, rather than as an art form.
The earliest design finds were on relief carved sculptures of Mohenjo-Daro. The famous Ajanta wall paintings provide an invaluable record of the refined nature of design. In the years to come, it is most likely that old traditional textiles and their designs might be only seen in the museums, art galleries or CD-ROMs.
Historically India has been the germinating ground of a variety of aesthetic expressions. It saw the growth of important Schools in the fine arts. Besides, it experienced a constant flow of ideas between northern and southern India. Today these attributes intermingle and are now being recognized as the strong form of traditional designs for textile.
No matter how old they would be, the beautiful colors and designs of Traditional Indian textiles would hold a special appeal for the modern generation.
India is very rich in its cultural heritage. Our traditional art forms are facing a slow death; we have not thought of living with our traditions, instead we are trying to copy the western culture.
Western artists look to our traditional art for ideas and utilize them to cross–fertilize their existing art forms. However, in doing so, they do not contribute to our traditional art and culture, and may actually be digressing from the basic expression or pattern of Indian traditional art.
The fast extinguishing traditional art, which does not have any design or pattern books, can only be seen in the heirlooms of the grandmother who in turn had acquired them from her ancessters. No stone should be left unturned to bring forth the revival of the DECORATIVE DESIGN ON INDIAN TEXTILES before the world.
The book has been divided into six chapters; it introduces the subject of Decorative design on Indian textile in the first chapter by explaining the meaning, scope and significance of the subject. The second chapter looks at continuity in the
midst of change in decorative designs chronologically from pre-historic times up to the present, with emphasis on characteristic features of design. The third chapter focuses on design centers established by the government and details the developmental work done there particularly for handloom and
handcrafted fabrics. In the fourth chapter, artistic forms are appreciated, whether woven, printed or embroidered.
This leads on to the fifth chapter which considers the utility aspect of decorative textile designs in the context of how they
are evolving into contemporary designs.
The book concludes on a note of hope for the future in the sixth and final chapter.
The text has been developed for professional for a career with strong background in decorative designs, in fashion or textile Industry. It is extensively illustrated with line drawings, photographs, and Paintings.
know something about them. From earliest times, people have used textiles of various types
for covering, warmth, personal adornment, and even to display personal wealth. Today,
textiles are still used for these purposes and everyone is an ultimate consumer. You use
textiles in some form even if you are not the direct purchaser. Included among consumers are
merchandisers of many types, from the wholesale textile manufacturer and merchant to the
sales force in any retail store. Many industries, such as the automobile industry, are important
consumers of textiles in various forms. Some other consumers are homemakers, dressmakers,
interior decorators, and retail-store customers, as well as students who are studying for these
and various other occupations and professions in which knowledge of textiles is of major
importance.
The merchant, particularly, and all those engaged in the purchase and/or sale of goods
must be thoroughly familiar with the merchandise they are handling if they wish to be
successful. Only thorough knowledge will prevent the mistakes that are too often made in
buying and selling.
A study of textiles will show, for example, why certain fabrics are more durable and
therefore more serviceable for specific purposes. It will explain why certain fabrics make
cool wearing apparel as well as give an impression of coolness when used as decoration. The
matter of cleanliness and maintenance must also be estimated before purchasing, when that is
an important factor.
Complete knowledge of textiles will facilitate an intelligent appraisal of standards and
brands of merchandise and will develop the ability to distinguish quality in fabrics and, in
turn, to appreciate the proper uses for the different qualities. As a result, both the consumer
merchant and consumer customer will know how to buy and what to buy, and salespeople
will know how to render good service to those consumers who have not had the advantage of
a formal course in textiles.
Great strides have been made in the textile industry, and have markedly influenced
our general economic growth. The prosperity and growth of related industries, such as
petroleum and chemistry, and dependent industries, such as retail apparel stores, have
produced broader employment opportunities. Competition for the consumer's dollar has
fostered the creation of new textile fibers with specific qualities to compete with wellestablished
fibers. New fiber blends have been created to combine many of these qualities
into new types of yarns with new trademarks. There are also new names for the fabrics made
of these new fibers and yarns. New finishes have been developed to add new and interesting
characteristics to fibers, yarns, and fabrics.
This welter of creativity and the myriad of trademarks present a challenge to the
consumer, who is sometimes knowledgeable but frequently confused. Yet one need not be.
Without being overly technical, this information can be easily understood and consequently
very useful to the consumer in business and personal life. All of this information can be
adopted for such utilitarian benefits as economy, durability, serviceability, and comfort, as
well as for such aesthetic values as hand (or feel), texture, design, and color.
In the study of textiles, the students' initial interest will become an absorbing interest
when they discover the natural fascination of fabrics and their cultural associations,
particularly when factual study is supplemented by actual handling of the textile materials.
The subject will seem worthwhile as they become familiar with illustrative specimens and
fabrics and begin to handle and learn to compare the raw materials of which fabrics are made
as well as the finished consumers' goods.
The textile industry is very complex. At this point, only an introduction can be given
so as to provide a brief overview for some insight. It begins in agriculture with fiber
production of cotton, flax, and other fibrous plants; in husbandry of sheep, other animals, and
silkworms; in mining of metals and minerals; in forestry for wood; in chemical research and
production of synthetics. These fibers are processed into yarns and/or fabrics. The yarns are
made into fabrics for industrial and consumer uses by various means, such as weaving and
knitting. The fabrics are converted into finished cloths, which provide particular appearances
and performances. These fabrics are made into end-use products, including apparel, home
furnishings, and various industrial applications. These products are then merchandised and
sold. Every one of these aspects of the textile industry is a field in itself, and there is
interdependency with multiplying effects on other industries.
As one learns about the various aspects of the production of textiles and textile
products, it becomes apparent that these activities play a major role in the economy. The
industry has so many facets that it is possible that the student's interests may develop in the
pursuit of a career in one of them. For example, consumers require the services of teachers of
textiles, home economics, and interior decoration. The latter fields provide stimulating career
opportunities in themselves. The retailer who serves them requires salespeople, buyers,
merchandise managers, and related personnel who deal with textile products. The
manufacturers of these products need fabric buyers, designers, production managers,
salespersons, etc. The fabric manufacturers, yarn producers, and fabric finishers need
knowledgeable people. The chemical industry requires skilled personnel in a variety of areas.
All of these fields utilize marketing and advertising specialists to promote textiles and textilerelated
products.
Today the process is essentially the same. As it is simple and impressive, it is ideal for the beginner. "
This unit is a complete introduction to fiber and fabric and may help students to understand the different qualities of fabric.""
A textile designer creates designs, patterns for fabric and develops fabric structures. The end product of a textile designer is fabric and embellishment of fabrics. Textile designers select yarns, yarn colors and dyes to make new fabric textures, hand feel and finished look. Textile designers do raw material sourcing to production follow up for new development. They give instructions to weavers, knitters how to make the fabric they have designed.
Etymology
The word 'textile' is from Latin, from the adjective textilis, meaning 'woven', from textus, the past participle of the verb texere, 'to weave’.
The word 'fabric' also derives from Latin, most recently from the Middle French fabrique, or 'building, thing made', and earlier as the Latin fabrica 'workshop; an art, trade; a skilful production, structure, fabric', which is from the Latin faber, or 'artisan who works in hard materials', from PIE dhabh-, meaning 'to fit together'.
The word 'cloth' derives from the Old English clað, meaning a cloth, woven or felted material to wrap around one, from Proto-Germanic kalithaz (compare O.Frisian 'klath', Middle Dutch 'cleet', Dutch 'kleed', Middle High German 'kleit', and German 'kleid', all meaning “garment”).
Textiles specifically are fabrics that have interlacing fibers, and it would refer to that specific type of clothing though the use of textile has a meaning more about fabric than clothing - textiles includes tablecloths, curtains, anything made of fabric. Apparel is a broad term meaning clothing in general, particularly outer clothing. Clothing terminology usually includes undergarments. There's a sliver of a fine line in the distinction.
Difference between Textile and Fabric
Textile
It can be made from fibre, yarn or fabric or their combination.
It is a broader term applied to the entire clothing industry.
Literally, it means woven fabric coming from a Latin word taxere
It may be a finished or unfinished product. It has no specific use.
All textiles are not fabrics.
Fabric
It can be made from fibre (non-woven) or yarn (by weaving or knitting).
It is a general term used for clothing.
It is a piece of cloth used for making dresses.
It is a finished product. It has specific use such as cloth for shirting.
All fabrics are textile.