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101 Gaze
The French term for gauze, and there are many fabrics made in France to which this name is given. The most common are as follows: - Gaze a Bluter - Made in cotton or silk and used for sifting purposes. It is a plain gauze. Gaze Brilliantine - A high-class dress leno cloth made from all silk yams. Gaze an Fuseau - See Grille. Gaze Barege - Very light dress goods, silk warp, wool weft, or of all wool, often printed. Gaze Ceres - A fabric for making women's hats, silk warp and split straw weft. Leno weave. Seldom used today. Gaze Cristal - Very light French dress goods, silk warp, having small bright and dull spots alternating on the face. Gaze Damassee - A gauze fabric of silk warp and weft in which the design is produced with two wefts, either different colours or different material. Gaze Faconnee - A French gauze with brocade design woven one ground thread and one figuring thread alternately. Gaze Paconnee Broche - French gauze fabric, plain gauze, on which is hand embroidered various designs. Gaze Faconnee Raye - French gauze with warp stripes. Gaze de Fil - A French-made gauze, flax yarns, with a light starch finish, usually striped. Gaze d'ltalie - A French gauze, made of silk yams. Gaze de Paris - A French light-weight, silk dress fabric, made of organzine warp and trame weft. Gaze de Voilette - A French production made from all-silk yams in fine reeds and closely picked. A pure, very fine and transparent gauze. Gaze Filoche - A French all-silk leno fabric. Gaze Fond Filoche - An all-silk French gauze, organzine warp, grege weft, with bars across the weft formed by groups of picks. Gaze Lisse - A leno cloth, very light weight, made in France from undyed silk yams. Gaze Marabout - A very light, silk French gauze. Also a pile fabric made with very short plush stripes, alternating in three colours, over a thin gauze ground. Gaze Milanaise - A French light-weight dress fabric with equal number of ends and picks per inch. Made of " Milanaise " yarn. Gaze Ondee - A French very light dress cloth or trimming fabric made of organzine warp and weft on " ondee " silk. Gaze Perron - A French leno fabric, all silk, used for bordering on dresses. Gaze Platree - A striped French gauze, made of yellow silk and given a light starch finish. Gaze Tour Anglais - The French term for leno. -
102 Nets, Warp Lace
NETS, WARP LACEThere are numerous plain net fabrics in use and the styles as under are the most popular. Cable Net - A coarse net for use as a ground for figured lace curtains, bedspreads, etc. This is the heaviest of the cotton nets. Brussels Net - A net made of very fine yarns and in a close mesh. Used for trimmings, ladies' ties, etc. Bretonne Net - Very similar to Brussels, but finished much softer, and sold in white, ecru, cream and other light shades. Mosquito Net - This style has a wider mesh than any other net and besides its uses as a mosquito net it is used for trimmings. Fine lace yarns are used for all above nets except the cable net, and they are made on the " bobbin net machine" in many widths (see also Stirrup Net, Fly Net, Rose Net, English Net) -
103 Sam Ramie
Trade term in Korea for the wild ramie which gives a tough and coarse fibre from which fabrics are made for the poor for summer wear, and for all classes as a sort of sacking cloth for mourning. -
104 Cotton, William
SUBJECT AREA: Textiles[br]b. 1819 Seagrave, Leicestershire, Englandd. after 1878[br]English inventor of a power-driven flat-bed knitting machine.[br]Cotton was originally employed in Loughborough and became one of the first specialized hosiery-machine builders. After the introduction of the latch needle by Matthew Townsend in 1856, knitting frames developed rapidly. The circular frame was easier to work automatically, but attempts to apply power to the flat frame, which could produce fully fashioned work, culminated in 1863 with William Cotton's machine. In that year he invented a machine that could make a dozen or more stockings or hose simultaneously and knit fashioned garments of all kinds. The difficulty was to reduce automatically the number of stitches in the courses where the hose or garment narrowed to give it shape. Cotton had early opportunities to apply himself to the improvement of hosiery machines while employed in the patent shop of Cartwright \& Warner of Loughborough, where some of the first rotaries were made. He remained with the firm for twenty years, during which time sixty or seventy of these machines were turned out. Cotton then established a factory for the manufacture of warp fabrics, and it was here that he began to work on his ideas. He had no knowledge of the principles of engineering or drawing, so his method of making sketches and then getting his ideas roughed out involved much useless labour. After twelve years, in 1863, a patent was issued for the machine that became the basis of the Cotton's Patent type. This was a flat frame driven by rotary mechanism and remarkable for its adaptability. At first he built his machine upright, like a cottage piano, but after much thought and experimentation he conceived the idea of turning the upper part down flat so that the needles were in a vertical position instead of being horizontal, and the work was carried off horizontally instead of vertically. His first machine produced four identical pieces simultaneously, but this number was soon increased. Cotton was induced by the success of his invention to begin machine building as a separate business and thus established one of the first of a class of engineering firms that sprung up as an adjunct to the new hosiery manufacture. He employed only a dozen men and turned out six machines in the first year, entering into an agreement with Hine \& Mundella for their exclusive use. This was later extended to the firm of I. \& R.Morley. In 1878, Cotton began to build on his own account, and the business steadily increased until it employed some 200 workers and had an output of 100 machines a year.[br]Bibliography1863, British patent no. 1,901 (flat-frame knitting machine).Further ReadingF.A.Wells, 1935, The British Hosiery and Knitwear Industry: Its History and Organisation, London (based on an article in the Knitters' Circular (Feb. 1898).A brief account of the background to Cotton's invention can be found in T.K.Derry and T.I. Williams, 1960, A Short History of Technology from the Earliest Times to AD 1900, Oxford; C. Singer (ed.), 1958, A History of Technology, Vol. V, Oxford: Clarendon Press.F.Moy Thomas, 1900, I. \& R.Morley. A Record of a Hundred Years, London (mentions cotton's first machines).RLH -
105 zéro
zéro [zeʀo]1. masculine noun• remettre à zéro [+ compteur, chronomètre] to reset• mener par deux jeux/sets à zéro (Tennis) to lead (by) two games/sets to love• zéro à zéro or zéro partout à la mi-temps no score at half time2. adjective* * *zeʀo
1.
1) ( avant nom)zéro heure — midnight, twenty-four hundred (hours)
il sera exactement zéro heure vingt minutes dix secondes — the time will be twelve twenty and ten seconds
2) ( après nom) zeroniveau/croissance zéro — zero level/growth
2.
nom masculin1) ( chiffre) zero, nought GBle prix se termine par un zéro — the price ends in a nought GB ou zero
2) ( sur une échelle de valeurs) zeroavoir le moral à zéro — fig to be down in the dumps (colloq)
3) ( évaluation) zero, nought GBavoir un zéro en latin — to get zero ou nought in Latin
c'est beau à regarder mais question goût c'est zéro — (colloq) it's nice to look at, but no marks for flavour [BrE]
•Phrasal Verbs:••avoir la boule à zéro — (colloq) to have a shaven head
* * *zeʀo nm1) (= température) zeroau-dessous de zéro — below zero, below freezing
2) (= nombre) zero, nought Grande-Bretagnezéro virgule deux — nought point two, zero point two
3) (= rien)4) SPORT nilIls ont gagné trois à zéro. — They won three-nil.
* * *A adj num1 ( avant nom) zéro heure midnight, twenty-four hundred (hours); il sera exactement zéro heure vingt minutes dix secondes the time will be twelve twenty and ten seconds; les enfants de zéro à six ans children from nought to six years old; j'ai eu zéro faute dans ma dictée I didn't make a single mistake in my dictation; ‘zéro défaut, zéro délai, zéro stock, zéro panne’ ‘zero defect, zero delay, zero stock, zero breakdown’;2 ( après nom) zero; niveau/croissance zéro zero level/growth; le numéro zéro d'un journal the trial issue of a newspaper.B nm1 ( chiffre) zero, nought GB; falsifier un chiffre en ajoutant un zéro to falsify a figure by adding a nought GB ou zero; le prix se termine par un zéro the price ends in a nought GB ou zero;2 ( sur une échelle de valeurs) zero; croissance proche de zéro growth that is near zero; remettre un compteur à zéro to reset a counter at ou to zero, to zero a counter; remettre les compteurs à zéro fig to make a fresh start; 40 degrés en dessous de zéro 40 degrees below zero; avoir le moral à zéro fig to be down in the dumps○; croître de zéro à la valeur V to increase from zero to value V; tendre vers zéro to tend toward(s) zero;3 ( évaluation) zero, nought GB; avoir un zéro en latin to get zero ou nought in Latin; c'est beau à regarder mais question goût c'est zéro○ it's nice to look at, but no marks for flavourGB;4 ( en sport) gén nil, nothing; ( au tennis) love; gagner trois (buts) à zéro to win three nil; l'emporter par deux sets à zéro to win by two sets to love.zéro absolu absolute zero; zéro de conduite bad mark for behaviourGB; zéro pointé fail mark GB ou grade US.les avoir à zéro◑ to be scared shitless◑ ou stiff○; partir de zéro to start from scratch; repartir de zéro to start from scratch again, to go (right) back to square one; tout reprendre à zéro to start all over again; avoir la boule à zéro○ to have a shaven head.[zero] nom masculin[dans un numéro de téléphone] 0[dans une gradation] zero6. (familier) [incapable] dead lossau niveau organisation, c'était zéro as far as organisation goes it was uselessils ont de beaux tissus, mais pour la confection c'est zéro they've got some nice fabrics but when it comes to making clothes they haven't a clue————————[zero] déterminant————————à zéro locution adjectivale————————à zéro locution adverbialerecommencer ou repartir à zéroa. [dans sa carrière, dans un raisonnement] to go back to square one ou the drawing boardb. [sans argent, sans aide] to start again from scratch -
106 Heald Yarns
These are folded yarns used in the making of healds. They are required to be smooth and yet be capable of absorbing the varnish which is used. Generally Egyptian cotton threads are used ranging from 9 up to 16 or more folds. Genappe worsted threads are used for some fabrics. The thickness of the heald yam is varied according to the counts of warp and number of ends per inch of the fabric to be woven. Thus for a heavy fabric with coarse yarn and coarse reed 16/40's may be used compared with 16/80's for a light fabric made from fine yarns and reed. The following table gives a comparative standard for the cotton trade: -
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107 Kincob
A very expensive and elaborately ornamented fabric, woven in India for artistic and ceremonial purposes. It is made from all-silk yarns in all colours with gold and silver threads for extra ornament. There are up to seven warps used and many wefts in a large variety of designs. It is seldom that two pieces are alike either in design or quality. Being hand-woven the fabrics resemble embroidery work. Mostly made at Benares, Ahmedabad and Surat. They are used for covering state carriages, thrones, Mussulman jackets, caps, etc. When used for covering presents given by princes they are called rumals, but are not classed with the ordinary rumal. -
108 Organzine Silk
These are silk yarns mainly used for warps. Care is taken not to give too much twist, since the twisting reduces the lustre. Organzine is produced by slightly twisting together several filaments, and then twisting two or more such singles together to form the required yarn. The first is Z twist, the doubling is S twist. The turns vary from 9 up to 30 per inch according to the fabrics the yarn is to be used for. Satins require a fairly soft twist of 10 to 11 turns, yarn for velvet about 15 to 20, and grenadines, voiles, etc., up to 30. Organzine was first produced in Italy and not till 1718 did English silk spinners make a silk strong enough for warp (see silk yarns) -
109 Steam Twills
Very low quality cotton fabrics used for low-class linings and for underwear in some countries. Usually finished grey in a filled finish. Made about 40 to 46 ends and 50 to 54 picks per inch, 26's to 30's warp, 36's weft. Also in white and black and heavily filled qualities, 40-in. wide, 40 ends and 46 picks per inch, 38's warp, 22's weft, for cap linings; 38-in. wide, 44 ends and 50 picks per inch, 38's warp, 28's weft, for cheap clothing linings. -
110 Velours
The French word for velvet. A velour is made for curtains from coarse cotton yarns and piece-dyed. The pile is very stiff and appears on both sides of the fabric. Cotton velours are made from heavier yarns than used for velvets and velveteens, and the weave develops a cord or rib. If this rib is warp way the cloth is termed " long velour," if weft way " gros velour." Generally piece-dyed. The fabrics are intended to stand hard wear. A term used indiscriminately for a variety of cloths with a fine raised finish. The true velour has a smooth surface consisting of a fine dense pile cropped very level. -
111 Hancock, Thomas
SUBJECT AREA: Chemical technology[br]b. 8 May 1786 Marlborough, Wiltshire, Englandd. 26 March 1865 Stoke Newington, London, England[br]English founder of the British rubber industry.[br]After education at a private school in Marlborough, Hancock spent some time in "mechanical pursuits". He went to London to better himself and c.1819 his interest was aroused in the uses of rubber, which until then had been limited. His first patent, dated 29 April 1820, was for the application of rubber in clothing where some elasticity was useful, such as braces or slip-on boots. He noticed that freshly cut pieces of rubber could be made to adhere by pressure to form larger pieces. To cut up his imported and waste rubber into small pieces, Hancock developed his "masticator". This device consisted of a spiked roller revolving in a hollow cylinder. However, when rubber was fed in to the machine, the product was not the expected shredded rubber, but a homogeneous cylindrical mass of solid rubber, formed by the heat generated by the process and pressure against the outer cylinder. This rubber could then be compacted into blocks or rolled into sheets at his factory in Goswell Road, London; the blocks and sheets could be used to make a variety of useful articles. Meanwhile Hancock entered into partnership with Charles Macintosh in Manchester to manufacture rubberized, waterproof fabrics. Despite these developments, rubber remained an unsatisfactory material, becoming sticky when warmed and losing its elasticity when cold. In 1842 Hancock encountered specimens of vulcanized rubber prepared by Charles Goodyear in America. Hancock worked out for himself that it was made by heating rubber and sulphur, and obtained a patent for the manufacture of the material on 21 November 1843. This patent also included details of a new form of rubber, hardened by heating to a higher temperature, that was later called vulcanite, or ebonite. In 1846 he began making solid rubber tyres for road vehicles. Overall Hancock took out sixteen patents, covering all aspects of the rubber industry; they were a leading factor in the development of the industry from 1820 until their expiry in 1858.[br]Bibliography1857, Personal Narrative of the Origin and Progress of the Caoutchouc or Indiarubber Manufacture in England, London.Further ReadingH.Schurer, 1953, "The macintosh: the paternity of an invention", Transactions of the Newcomen Society 28:77–87.LRD -
112 Abaca
ABACA, or MANILA HEMPA fibre obtained from the leaf stalks of the "musa textilis", a plant in the Philippine Islands, Sumatra, Java and Borneo. It is strong, has great durability, varies from 40-in. to 140-in. in length, yellowish-white in colour, and has a lustrous appearance. It is light, but rather stiff in handle. The yield of the fibre is only about 11/2 per cent of the weight of the green leaves. In India the inner fibres of the leaf stalk are much used for making fine cloths, the outer and coarser fibres being used in the manufacture of matting for floor covering, cordage, canvas, etc. The fibre (fine quality) is also used as weft in some fabrics for upholstery, chiefly on account of its colour and lustre. There are many grades, ranging from fine to coarse, obtained from these several species of banana and pineapple plants. Manila hats are made from these fibres. The fibres are tied end to end and woven without being spun into yarns. It is a tall plant, growing from 16 to 22 feet, and has a stem up to 12-in. diameter. This is one of the most important fibres cultivated in the tropics. Although called Manila Hemp it is quite unlike true hemp. Others names are "Cebu Hemp" and "Davao Hemp" (see textile fibres) -
113 Manila Hemp
ABACA, or MANILA HEMPA fibre obtained from the leaf stalks of the "musa textilis", a plant in the Philippine Islands, Sumatra, Java and Borneo. It is strong, has great durability, varies from 40-in. to 140-in. in length, yellowish-white in colour, and has a lustrous appearance. It is light, but rather stiff in handle. The yield of the fibre is only about 11/2 per cent of the weight of the green leaves. In India the inner fibres of the leaf stalk are much used for making fine cloths, the outer and coarser fibres being used in the manufacture of matting for floor covering, cordage, canvas, etc. The fibre (fine quality) is also used as weft in some fabrics for upholstery, chiefly on account of its colour and lustre. There are many grades, ranging from fine to coarse, obtained from these several species of banana and pineapple plants. Manila hats are made from these fibres. The fibres are tied end to end and woven without being spun into yarns. It is a tall plant, growing from 16 to 22 feet, and has a stem up to 12-in. diameter. This is one of the most important fibres cultivated in the tropics. Although called Manila Hemp it is quite unlike true hemp. Others names are "Cebu Hemp" and "Davao Hemp" (see textile fibres) ———————— See Abaca. The fibre obtained from the Musa textilis, a variety of plantain, a native of the Philippine Islands where it is known as abaca. -
114 Acid Dyes
Dyes used principally for wools and silks and include both fast and loose colours. They are all acid in character. Are not used for dyeing cotton. They are easily applied to animal fibres and give even shades in the cloth. They consist chiefly of azo compounds used for dress fabrics, suitings, carpets, etc. The fabric needs no preparation before dyeing and wools and silks are simply dipped into the warm solutions (see Dyes) -
115 Aupoz Fibre
Native name in the Philippines for the intermediate fibrous layer in the Musa textillis; used for weaving fabrics for local use. -
116 Bedford Cords
Fabrics having cords or ribs in the direction of the warp produced by interweaving the weft in plain or twill order with alternate groups of warp threads. The ribs may be emphasised by the addition of wadding or stuffing warp threads. Generally woven in dobby looms. All cotton, all wool or mixed. A standard cotton cloth is made 36-in., 144 X 100 per inch, 40's/50's, with 20's wadding ends. The diagram gives the weave. When the face ends X are weaving plain in one section, the face ends are lifted in the other section, this is for two picks, and then the weave is reversed. The plain ends are separated in the reed.
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Another cloth is made 30-in. from 24's warp, 36's weft, with every seventh cord made from coloured yarn. A heavy cloth is made for use as riding breeches in many qualities. Also made with wool yams. The illustration (A) shows a fancy Bedford cord for dress goods. There are ten padding cords to the inch, as shown by the broader cord stripes. These dress goods styles are made from a two-fold warp and single weft, all Egyptian yams. Fabric B is a three-colour fancy weave.
The term " London Cord " is given to a heavy cotton Bedford Cord, woven with a 2 X 1 twill face. One quality is 88 X 80 per inch, 16/20's. Frequently padding ends are used to give prominence to the cords. Bedford Cord shirtings are made from the 144 X 110 cloth, usually 33/34-in. and with coloured stripes
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117 Brightons
Woollen fabrics in the Brighton weave used for vestings. Silk spots are often introduced for ornament. The effect is a small honeycomb on the face. Rayon is now used largely in place of silk. The illustration shows the design for a cotton cloth in this weave on 8-shafts; 84 X 72 per inch, 32's/2/60's yarns
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118 Cellular
A leno fabric having an open or cell-like structure, and specially suited for shirtings and underwear. A common style is made 28-in., 120 yards, 32 X 40 per inch, 2/24's 24's, 23-lb. Better cloth is made from super yarns such as 2/40's ground and 2/30's crossing warps. The take-up of the crossing warp is about 70 per cent., thus for 100 yards of cloth 170 yards of warp is used. Mercerised yarn is introduced to give variety. The cloths known as " Ventilette " and " Aertex " are purely cellular fabrics, used for shirtings, underwear, etc. The illustration shows a cellular shirting cloth with a fancy stripe between each bar of cellular weave
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119 Cellulose Acetate Textile Fibre
Cellulose Acetate fibre is soft and warm to the handle and absorbs moisture slower than some other types of rayon. It closely resembles real silk. This fibre cannot be dyed with the ordinary cotton colours, thus enabling a designer to utilise this quality for cross-dyed effects. It can be manufactured into very fine yarns. Owing to its softness, it is successfully used for a great variety of dress fabrics and for draping. It is made from cotton or wood-pulp, which is converted into a compound, termed acetyl compound of cellulose. This compound is dissolved in acetone and the solution filtered. The solution is then forced through very fine openings and the filaments coagulated by exposure to warm air. These filaments are brought together to form a thread with the necessary twist.Dictionary of the English textile terms > Cellulose Acetate Textile Fibre
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120 Seersucker
CRINKLE, or SEERSUCKEROriginally a silk fabric with flat and puckered stripes alternating across the fabric. Now applied to cotton dress fabrics of the better quality crimp styles, woven 32-in. wide in many weights. Two beams are required, one for the crimp stripes and one for the ordinary. One cloth has 72 ends and 72 picks per inch, 2/60's and 30's warps, 32's weft, super Egyptian yarns (see Seersucker) ————————SEERSUCKER (See Crinkle)This term is common in the U.S.A., and given to a plain and crimped stripe fabric either bleached or dyed, and used for drapery and furnishings as well as dress purposes. A common quality is made 40-in. wide 64 ends and 64 picks per inch, 26's warp, 20's weft. Woven from two beams in stripes of plain weave and crimp which is also plain weave. The plain ground ends are firmly weighted and the crimping ends are lightly weighted. Fancy designs are obtained by using colour or rayon in the warps. Another class of seersucker is made from a plain cotton cloth that is printed in stripes with a preparation that will resist the action of caustic soda. The cloth is passed through a concentrated solution of caustic soda and the imprinted part shrinks. The effect is that of crimped stripes.
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