Essential Factors For Textile Testing Equipment Notes

Essential Factors For Textile Testing Equipment Notes

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New Traditions: A Jaipur exhibition asks probing questions about the way we perceive textile

"The Hexacon Dress" by Rahul Mishra, Spring Summer 2016 Collection. The hand-embroidered dress is made with wool (felted), organza and PU leather. Photo credit: Chanpreet Khurana Starting with Le Corbusier’s tapestry for Chandigarh’s Capitol Complex to a 1980s Piet Mondrian-inspired bedsheet with a geometrical design, the exhibits here present an ambition to carve out a new aesthetic. Rimzim Dadu's "Jamdani Sari" (2014) is handwoven with silicon yarn. It begs the question: how far can you push the limits and still call something textile? Photo credit: Chanpreet Khurana The revival of Indian textile traditions in the 1970s and ’80s is the focus in Gallery 3. There are contemporary pieces here that resurrect lost arts, like Renuka Reddy’s chintz fabric, that uses a technique (wax resist) that had been lost for 200 years. There are also historic pieces that weave their own story of resilience, evolution and challenge, like a 1980s Tanchoi sari designed by Jadunath Supakar. The two floors of the Contemporary Gallery are devoted to the 1990s and 2000s, and the most recent experiments in fabrics, respectively. On the one hand, these contain art experiments like a Jamdani sari made with silicon yarn that may leave some wondering if it’s even textile. On the other hand, they showcase a minimalist design aesthetic that though made in India, could belong anywhere in the world.

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