Thursday, 15 May 2014
Wednesday, 14 May 2014
Tuesday, 13 May 2014
Monday, 12 May 2014
Sunday, 4 May 2014
Saturday, 3 May 2014
Spec sheet for a Typical Women Ethnic Kurta
Specification and Measurement sheet for a Typical Women Ethnic Kurta
Please see the link below
https://docs.google.com/spreadsheets/d/1c2nkmvoqaY0rwQTMkizh7tv-nd3S_Cr9IypumxU75aA/pubhtml
Please see the link below
https://docs.google.com/spreadsheets/d/1c2nkmvoqaY0rwQTMkizh7tv-nd3S_Cr9IypumxU75aA/pubhtml
Thursday, 10 April 2014
Banarasi Saris
Here are some of the interesting tables regarding Banarasi Saris obtained from this source. These tables depict the composition of these saris, time taken to weave one sari and the techno economic aspects.
Wednesday, 9 April 2014
Value Chain Analysis of Shantipuri Sarees
Source and 2
1. There are three types of Sarees popular in the region: Jamdani Sarees of Nabadip, Shantipuri of Shantipur and Tangail variety of Phulia.
2. The weavers of Shantipur have made themselves famous by their professional aptitude in making Tant or Taant Saree. There are two types of Taant Sarees, Tangail and Dhanikhali. Here Jacquard weaving technique is used in these sarees.
3. The sarees are famous for designs used with extra warp in the border and cotton ground base. Muga, Twisted cotton, zari, viscose and polyester are used for the extra warp.
4. Depending upon the design, color, pattern, Shantipuri sarees are named as Nilambari, Gangajamuna, Benkipur, Bhomra, Rajmahal, Chandmala, Anshpar, Brindabani Mour Par, Do Rookha
5. Mostly fly shuttle pit looms of width 130-140 cm are used in the cluster with 100-150 hook jacquard. 99% of the looms have jacquard attachment.
6. Average production per weaver per week of 6 days: 5 sarees
7. Value Chain Analysis
8. About the various Sarees:
Anshpar
Visva
– Bharati
Do-rookha
1. There are three types of Sarees popular in the region: Jamdani Sarees of Nabadip, Shantipuri of Shantipur and Tangail variety of Phulia.
2. The weavers of Shantipur have made themselves famous by their professional aptitude in making Tant or Taant Saree. There are two types of Taant Sarees, Tangail and Dhanikhali. Here Jacquard weaving technique is used in these sarees.
3. The sarees are famous for designs used with extra warp in the border and cotton ground base. Muga, Twisted cotton, zari, viscose and polyester are used for the extra warp.
4. Depending upon the design, color, pattern, Shantipuri sarees are named as Nilambari, Gangajamuna, Benkipur, Bhomra, Rajmahal, Chandmala, Anshpar, Brindabani Mour Par, Do Rookha
 |
| Nilambari Saree |
6. Average production per weaver per week of 6 days: 5 sarees
7. Value Chain Analysis
Saree
is the major cluster product, the value chain for a Santipuri cotton saree with
border is analysed as under
- Raw material accounts to
50.6% in Santipur cotton sarees.
- Value addition in weaving
including preparatory works to 30.5 % with respect to the cost price.
- Dyeing is nearly 3.8% of
the cost price of the saree.
- Margin to the master
weaver exclusive of marketing costs is 8.5% as the cost price of the saree.
8. About the various Sarees:
Nilambari
The terms
Nilambari is applied as the ground warp and weft yarns are dyed with the
indigenous indigo colour. Mainly cotton yarns are used for warp & weft. The
colour is extracted from the leaves of the herb indigo ere tinctoria. The
leaves are harvested steeped in water and allowed to ferment. A blue substance
that settled as sludge in the bottom vessel is derived and sold as indigo
cakes. The colour is pleasing and will not fade. The colour resembles the dark
blue of the clear night sky. The rich sarees are ornamented treated designs. In
some sarees the technique of weaving the designs in ground and anchal is same
as Jmdani.
Gangajamuna
The name of the saree is derived for the use of
different colours in border i.e one side red and the other black. The ground
warp is grey cotton.
Benkipar
In the saree the aesthetic value of the border design
is prominent due to the use of muga and zari( 4 in a dent ) in extra warp. The
name of the saree is derived from the diagonal pointed twill lines in the
border.
Bhomra
The name is derived from the hernet & bumble-bee.
Indigo black, red & chocolate are the common colours. In border Kashmiri
silk i.e 20/22 organza silk yarns were very commonly used. For extra warp
twisted cotton yarn, zari & muga were used.
Rajmahal
The yarn used for border is similar to Benki-Par
saree. The motif in border is diamond twill. The name of the saree is indicated
according to the enclosed space of the diamond twill weave.
Anshpar
The type of yarn in border was zari only. The only
difference is the motif i.e fish scale for which the name of the saree is
termed as Anshpar.
Chandmalla
The name of the saree is derived from the round motif
i.e. depiction of moon. Here the extra warp is cotton or golden zari. The
border is twisted cotton yarn.
Visva
– Bharati
The speciality of the saree is for using two different
coloured cotton yarns in extra warp. Coloured extra warp yarns are distributed
throughout the width of the motif in border. The denting order for these is six
per dent of a reed i.e. 4 extra and 2 grounds in borders. As a result of colour
distribution, reversible colour effect is visible in same side of border.
Usually red and black coloured yarns are selected for extra warp while the yarn
for ground border (khas) is yellow cotton. Thus variety of saree came into
production after the introduction of jacquard only i.e. 1950.
Do-rookha
This is almost similar to above variety with the
exception of yarn used for extra warp. Unlike above, the ground border yarn is
not visible. The zari & coloured yarns are used in the ratio of 2:2. It is
two sided or two-faced weave. In “Do-rookha” both the sides are exactly
identical.
Brindabani Mour Par
Here the border is depicted by two peacocks sitting
face to face on a tree. Cotton yarn is used for both border and ground.
Jacquard is used for design.
Tuesday, 8 April 2014
Value Chain Analysis of Bomkai Sarees, Orissa
Source
1. The tie-dye weaving in Orissa came into existence during mid of 14th century when 100 weaver's families were brought from Raipur area of M.P. by the then ruler of Patnagarh Shri Ramai Dev. The weavers later on titled as Meher and their caste known as Bhulia.
2. The Bomkai Designs are the traditional designs in production in the village named Bomkai in Ganjam District of Orissa. Latter on it is introduced in Sonepur.
3. Silk yarn was introduced in 1980s. The body part of silk fabric was woven with silk yarns and Anchal by cotton tie and dye. The Bomkai design were developed in late 80s and introduced in early 90s.
4. There are three different patterns of production:
a. The independent weaver purchases yarns and other essential raw material on his own money, weaves clothes and sells the produce on his own either in the open market or to the traders and middleman.
b. The master weaver advance yarn and raw materials to the weavers and pay wages to them on receipt of woven cloth.
c. Instead of master weaver, there are cooperatives who do this function.
5. Both the warp and weft are dyed by this process in accordance with the requirement of the design. For border design the warp alone is processed. For Palavas or Anchals of the sari, the weft is processed (now jala designs are also preferred) and for the overall body designs both the warp and weft is processed.
6. The weavers make warp for two pieces of sarees at a time of 6.5 meters each.
7. Poor Dyeing: colour fastness is the major problem in cotton sari if exposed to sun or continuous hand washing. It was found that in cotton sari, the boarder and anchal portion fade while the body colour of the sari is intact. Colour bleeding is the major problem with silk sari.
8. Value Chain Analysis of Silk and Cotton Bomkai Sarees
1. The tie-dye weaving in Orissa came into existence during mid of 14th century when 100 weaver's families were brought from Raipur area of M.P. by the then ruler of Patnagarh Shri Ramai Dev. The weavers later on titled as Meher and their caste known as Bhulia.
2. The Bomkai Designs are the traditional designs in production in the village named Bomkai in Ganjam District of Orissa. Latter on it is introduced in Sonepur.
3. Silk yarn was introduced in 1980s. The body part of silk fabric was woven with silk yarns and Anchal by cotton tie and dye. The Bomkai design were developed in late 80s and introduced in early 90s.
4. There are three different patterns of production:
a. The independent weaver purchases yarns and other essential raw material on his own money, weaves clothes and sells the produce on his own either in the open market or to the traders and middleman.
b. The master weaver advance yarn and raw materials to the weavers and pay wages to them on receipt of woven cloth.
c. Instead of master weaver, there are cooperatives who do this function.
5. Both the warp and weft are dyed by this process in accordance with the requirement of the design. For border design the warp alone is processed. For Palavas or Anchals of the sari, the weft is processed (now jala designs are also preferred) and for the overall body designs both the warp and weft is processed.
6. The weavers make warp for two pieces of sarees at a time of 6.5 meters each.
7. Poor Dyeing: colour fastness is the major problem in cotton sari if exposed to sun or continuous hand washing. It was found that in cotton sari, the boarder and anchal portion fade while the body colour of the sari is intact. Colour bleeding is the major problem with silk sari.
8. Value Chain Analysis of Silk and Cotton Bomkai Sarees
Sunday, 6 April 2014
Chanderi Saris - Value Chain Analysis and a discussion on Flaws
The following material is derived from this source:
1. Chanderi is originally produced with three kinds of fiber mix:
a. Pure Silk: Here the warp and weft both are woven with 13/15 denier silk
b. Chanderi Cotton: Where the warp and weft are 100s or 120s cotton.
c. Silk Cotton: The 13/15 denier warp is combined with 100s or 120s cotton
The figured effects are produced with the help of extra weft.
The difference between Chanderi and Varanasi products are while chanderi uses 13/15 denier, Varanasi weave uses 20/22 denier. Now chanderi saris also use 20/22 denier silk.
The looms are the old pit looms situated in dimly lighted sheds where the whole family lives, cooks, weaves and sleeps.
Silk is generally bought in grey hanks to be dyed locally. On the other hand 80% of the cotton is bought dyed from South India and Mumbai by local merchants.
Cotton and Silk yarn is obtained from Bangalore and zari is obtained from Ahmedabad.
Production Process
Time Estimates
1. Min quantity of Silk yarn for dyeing is 25 kg or 10 hanks. It takes about 45-60 minutes depending upon the color.
2. Warping - yarn for warp to wind around a wooden drum. A warper would wind 4-5 warps of 12 sarees each.
3. Drawing in- It takes about 3-4 days per warp
4. Setting of the Jala for design of border and Pallu: 3-4 days depending upon the complexity.
5. The chanderi fabic doesn't require any postloom process and cut off from the loom and cut and sold.
Value Chain Analysis
The following is the value addition in percentage, at each stage of the Sari making:
1. Dyeing: 2
2. Warping: 2
3. Filling of Reed with Yarn: 7
4. Design Preparation: 2
5. Joining of yarn for the new lot: 2
6. Border design Makers: 0.5
7. Motif Design Makers: 0.5
8. Weaving: 30
9. Master Weaver/Cooperative Societies:provides raw material, design and marketing: 54
"There is a problem of colour-run with the fabrics produced in the cluster. Especially the problem in
silk related dyeing is on account of de-gumming. The Chanderi fabric derives its distinctiveness
from the material gums and in order to retain that the fabric cannot be dyed at high temperatures. "
Also "The temperature is approximately measured by hand. As there is no thermometer in use or a stove
with temperature control. The quantity of color, the time for which the hank is soaked, all these
factors lend an element of variation in dyeing. This particularly has an adverse bearing when more
then one hank has to be dyed in the same color".
1. Chanderi is originally produced with three kinds of fiber mix:
a. Pure Silk: Here the warp and weft both are woven with 13/15 denier silk
b. Chanderi Cotton: Where the warp and weft are 100s or 120s cotton.
c. Silk Cotton: The 13/15 denier warp is combined with 100s or 120s cotton
The figured effects are produced with the help of extra weft.
The difference between Chanderi and Varanasi products are while chanderi uses 13/15 denier, Varanasi weave uses 20/22 denier. Now chanderi saris also use 20/22 denier silk.
The looms are the old pit looms situated in dimly lighted sheds where the whole family lives, cooks, weaves and sleeps.
Silk is generally bought in grey hanks to be dyed locally. On the other hand 80% of the cotton is bought dyed from South India and Mumbai by local merchants.
Cotton and Silk yarn is obtained from Bangalore and zari is obtained from Ahmedabad.
Production Process
Time Estimates
1. Min quantity of Silk yarn for dyeing is 25 kg or 10 hanks. It takes about 45-60 minutes depending upon the color.
2. Warping - yarn for warp to wind around a wooden drum. A warper would wind 4-5 warps of 12 sarees each.
3. Drawing in- It takes about 3-4 days per warp
4. Setting of the Jala for design of border and Pallu: 3-4 days depending upon the complexity.
5. The chanderi fabic doesn't require any postloom process and cut off from the loom and cut and sold.
Value Chain Analysis
The following is the value addition in percentage, at each stage of the Sari making:
1. Dyeing: 2
2. Warping: 2
3. Filling of Reed with Yarn: 7
4. Design Preparation: 2
5. Joining of yarn for the new lot: 2
6. Border design Makers: 0.5
7. Motif Design Makers: 0.5
8. Weaving: 30
9. Master Weaver/Cooperative Societies:provides raw material, design and marketing: 54
"There is a problem of colour-run with the fabrics produced in the cluster. Especially the problem in
silk related dyeing is on account of de-gumming. The Chanderi fabric derives its distinctiveness
from the material gums and in order to retain that the fabric cannot be dyed at high temperatures. "
Also "The temperature is approximately measured by hand. As there is no thermometer in use or a stove
with temperature control. The quantity of color, the time for which the hank is soaked, all these
factors lend an element of variation in dyeing. This particularly has an adverse bearing when more
then one hank has to be dyed in the same color".
Saturday, 5 April 2014
Value Chain Analysis in a readymade garment manufacturing unit
The following is quoted verbatim from this source:
Value Chain analysis
As there are a number of items and different types of raw material i.e. cotton, polyester blends, viscose, etc. used by the RMG industry, it is not possible to give value chain analysis for all the products. After discussing with the units, the value chain analysis has been done on percentage basis as given here under –
1. Basic raw materials i.e. Grey Fabric - 50 to 60% (of sale price of products)
2. Processing charges
(i.e. Bleach or dyeing or printing) - 10 to 15%
3. Cutting and fabrication - 10 to 15%
4. Fittings and Accessories - 10%
5. Finishing and Packaging - 5 to 6%
Embroidery and Handwork (if needed) - 25% (extra on nominal sale price)
For example, if we take the garment of costing Rs.100/- without embroidery) the value chain analysis will be as under –
1. Grey fabric - 50.00
2. Processing charges - 15.00
3. Cutting and fabrication - 10.00
4. Fittings and accessories
including buttons - 05.00
5. Finishing and packaging - 6.00
--------
Total 86.00
--------
Market Price - Rs.100.00
Gross Margin - Rs. 14.00
Net profit is much lower after adjusting the expenses for establishment, electricity, transportation, depreciation etc.
Cost with embroidery will be - Rs.108.00
Market price with embroidery - Rs.125.00
Value Chain analysis
As there are a number of items and different types of raw material i.e. cotton, polyester blends, viscose, etc. used by the RMG industry, it is not possible to give value chain analysis for all the products. After discussing with the units, the value chain analysis has been done on percentage basis as given here under –
1. Basic raw materials i.e. Grey Fabric - 50 to 60% (of sale price of products)
2. Processing charges
(i.e. Bleach or dyeing or printing) - 10 to 15%
3. Cutting and fabrication - 10 to 15%
4. Fittings and Accessories - 10%
5. Finishing and Packaging - 5 to 6%
Embroidery and Handwork (if needed) - 25% (extra on nominal sale price)
For example, if we take the garment of costing Rs.100/- without embroidery) the value chain analysis will be as under –
1. Grey fabric - 50.00
2. Processing charges - 15.00
3. Cutting and fabrication - 10.00
4. Fittings and accessories
including buttons - 05.00
5. Finishing and packaging - 6.00
--------
Total 86.00
--------
Market Price - Rs.100.00
Gross Margin - Rs. 14.00
Net profit is much lower after adjusting the expenses for establishment, electricity, transportation, depreciation etc.
Cost with embroidery will be - Rs.108.00
Market price with embroidery - Rs.125.00
Powerloom Clusters in India- A case of Tamil Nadu
The following are some of the observations:
1. The average production of grey fabric per loom per day is 30 meters.
2. For grey varieties, the beam length is observed to be of 1000 meters and max of 4750 meters.
3. For Sarees, the beam length is of 400 meters to 1000 meters.
4. 50% of the powerlooms operate in one shift and 50% in two shifts. As the powerlooms are working on jobwork basis, and they switch over to two shifts only if the jobwork is available. Also there is a restriction on the working of powerloom in the nights. The number of working hours for the units with one shift is 10 to 12 per day. Those which are working in two shifts work from 8 to 10 hours per day.
5. In case of sarees the powerlooms work in one shift only due to the design restrictions.
6. 95% of the units work in the range of 20-25 days in a month. In a year, 90% of the units work for 10 months and above.
7. In grey fabric production one weaver attend to normally 6 looms, if there are no dobby or jaquard deign. For all yarn dyed fabric, one weaver attends to about 2 looms. For sarees, it is one loom pere weaver.
There are two types of Production Activities followed:
1. Job work Units producing Greige Fabric
2. Entrepreneurial Units carrying out own production
In 1. The warp beam and the weft yarn is provided by the master weaver. The fabric is converted and supplied back to the master weaver.
In this case there are several disadvantages: As the job work unit supply the grey fabric without inspection, the quality of the fabric may not be best and depends upon the available infrastructure and resources.
As there are no inspection facilities so feedback is not scientific. Absence of stop motions - warp and weft as well as untrained weavers create a lot of defects. The product may have stains due to incorrect handling by weavers. Improper ventilation and housekeeping leads to lot of foreign matter in the end product.
In 2. The yarn is procured, dyed and converted.
The flow chart of the various production models are as given below:
source
1. The average production of grey fabric per loom per day is 30 meters.
2. For grey varieties, the beam length is observed to be of 1000 meters and max of 4750 meters.
3. For Sarees, the beam length is of 400 meters to 1000 meters.
4. 50% of the powerlooms operate in one shift and 50% in two shifts. As the powerlooms are working on jobwork basis, and they switch over to two shifts only if the jobwork is available. Also there is a restriction on the working of powerloom in the nights. The number of working hours for the units with one shift is 10 to 12 per day. Those which are working in two shifts work from 8 to 10 hours per day.
5. In case of sarees the powerlooms work in one shift only due to the design restrictions.
6. 95% of the units work in the range of 20-25 days in a month. In a year, 90% of the units work for 10 months and above.
7. In grey fabric production one weaver attend to normally 6 looms, if there are no dobby or jaquard deign. For all yarn dyed fabric, one weaver attends to about 2 looms. For sarees, it is one loom pere weaver.
There are two types of Production Activities followed:
1. Job work Units producing Greige Fabric
2. Entrepreneurial Units carrying out own production
In 1. The warp beam and the weft yarn is provided by the master weaver. The fabric is converted and supplied back to the master weaver.
In this case there are several disadvantages: As the job work unit supply the grey fabric without inspection, the quality of the fabric may not be best and depends upon the available infrastructure and resources.
As there are no inspection facilities so feedback is not scientific. Absence of stop motions - warp and weft as well as untrained weavers create a lot of defects. The product may have stains due to incorrect handling by weavers. Improper ventilation and housekeeping leads to lot of foreign matter in the end product.
In 2. The yarn is procured, dyed and converted.
The flow chart of the various production models are as given below:
source
Tuesday, 25 March 2014
Orissa Ikat Saris- Commercials and Value Chain
This is as per diagnostic study conducted by the Government:
The following types of Saris are studied:
1. Double Ikat Cotton (of 2/120s cotton) or "Sakta" or "Passa Palli" saris
2. Sambalpuri Cotton Single Ikat Saris ( of 2/120s to 2/80s)
3. Tussar silk/Bafta (Cotton+ Tussar) saris
Mostly, pit looms of up to 52” – 56” inches are being used in the cluster in which Dobbys of
4 to 12 hooks are used for borders. Nearly 70 – 80% of the looms of the cluster have a
dobby attachment
Value Chain Analysis
· Raw material accounts for 28.6% in single Ikat Sambalpuri sari and 47.2% in Cotton / Silk ‘Bafta’ sari with respect to Cost Price
· For single Ikat Sambalpuri sari, app 18% of value (with respect to cost price) is added in tying and dying stage
· Value addition is mainly at the weaving stage (47.2% both in Single Ikat Sambalpuri Sari and 47.1% in Cotton / Silk ‘Bafta’ Sari) with respect to cost price
-Dyeing & Sizing provide nearly 5.5% value to the cost of the sari.
· Marketing mark ups add up to 10% and 22% respectively on the cost price of sari.
Loom Productivity
1. In 5 days 11 metres of kurta fabric is produced in 1 loom.
2. In 2 days 10 metre of Salwar is produced in 1 loom.
3. In 3 days 10 metre of dupattas is produced in 1 loom.
4. Silk Sari: In 5 days 1 sari is produced in 1 loom
5. Cotton Single Ikat Sari: In 8 days 2 saris are produced in 1 loom
6. Cotton Double Ikat Sari: In 10 days 2 saris are produced in 1 loom.
Source
The following types of Saris are studied:
1. Double Ikat Cotton (of 2/120s cotton) or "Sakta" or "Passa Palli" saris
2. Sambalpuri Cotton Single Ikat Saris ( of 2/120s to 2/80s)
3. Tussar silk/Bafta (Cotton+ Tussar) saris
Mostly, pit looms of up to 52” – 56” inches are being used in the cluster in which Dobbys of
4 to 12 hooks are used for borders. Nearly 70 – 80% of the looms of the cluster have a
dobby attachment
Value Chain Analysis
· Raw material accounts for 28.6% in single Ikat Sambalpuri sari and 47.2% in Cotton / Silk ‘Bafta’ sari with respect to Cost Price
· For single Ikat Sambalpuri sari, app 18% of value (with respect to cost price) is added in tying and dying stage
· Value addition is mainly at the weaving stage (47.2% both in Single Ikat Sambalpuri Sari and 47.1% in Cotton / Silk ‘Bafta’ Sari) with respect to cost price
-Dyeing & Sizing provide nearly 5.5% value to the cost of the sari.
· Marketing mark ups add up to 10% and 22% respectively on the cost price of sari.
Loom Productivity
1. In 5 days 11 metres of kurta fabric is produced in 1 loom.
2. In 2 days 10 metre of Salwar is produced in 1 loom.
3. In 3 days 10 metre of dupattas is produced in 1 loom.
4. Silk Sari: In 5 days 1 sari is produced in 1 loom
5. Cotton Single Ikat Sari: In 8 days 2 saris are produced in 1 loom
6. Cotton Double Ikat Sari: In 10 days 2 saris are produced in 1 loom.
Source
Why Fabrics Shrink after Soaking and Washing
In an earlier article regarding the shrinkage of cotton ( Why Cotton Shrinks), the general causes were discussed. There is an excellent study done by Veena Verma of BMN College which looks in depth across the various factors related to yarn that leads to shrinkage. She tested 24 samples from very light weight to heavy weight for dimensional stability after soaking and 25 washings and the following are some very useful insights from the studies:
1. Basic reason for shrinkage is the relaxation which is the tendency of the yarn to revert to its normal and un stretched dimensions this is called relaxation shrinkage. Most fabrics are produced under tension which leave strains in the fabric. Usually several cleanings are required to relax it completely.
2. When the yarns are wet, they swell, and consequently the warp thread has a longer bending path to take round a swollen weft thread. The warp length must either increase in length or alternatively, the weft threads must move close together.
3. Fabrics shrinks after soaking and percentage significantly increases after repeated washing.
4. The ends per inch and shrinkage are inversely related. As the number of ends increase, shrinkage percentage decreases. There is no clear trend between shrinkage and picks per inch. This is true for both soaking and washing.
5. Higher the number of Ends per inch than picks per inch, shrinkage values are reduced.
6. More the cloth cover, less is the warp way and weft way shrinkage on soaking, this is not true for washing.
7. The fabric with coarse yarn count has more shrinkage and fabrics with finest count have the lowest shrinkage.
8. More the twist multiplier, higher is the shrinkage on washing.
9. There is no correlation in cloth weight and thickness on shrinkage.
Technical Specifications of Terry Rubia
A very popular fabric used for blouses for Sarees is called Rubia. Rubia is available as 100% cotton but a majority of it is a Polyester Cotton Blend of 67:33. The construction is either 2x2 or 2x1. The following are the technical parameters for the fabric:
Content/Composition: 70% Polyester, 30% Cotton
Weave: Plain
EPI (finished): 100
PPI ( Finished): 80
Yarn Count : Warp: 2/94s PC blend - High Twist ( single TM: 3.06, Double: 5.29)
Yarn Count: Weft: 2/94s PC blend- High Twist ( single TM: 3.06, Double: 5.29
Here the yarn is a simple ply yarn made of two singles evenly twisted together. This type of yarn is found in 2 by 2 rubia fabric. It has two plies of yarn in both directions.
Normally this fabric is available in 36" width. The fabric has a tensile strength of 41.25 kgf (warp) and 20.25 kgf( weft)- (20x 5 cms strip) and tear strength of 928 gm( warp) and 800 grams (weft)- KMI tear tester.
The colorfastness to washing, crocking, heat press and perspiration is 4-5. Dimensional stability after 3 cycles is 2%. 2% bow or skew and a rating of 4 wrt shade change and pilling in Abrasion ( 10K cycles). Washing shrinkage max lengthwise is 2% and widthwise is 1%.
Content/Composition: 70% Polyester, 30% Cotton
Weave: Plain
EPI (finished): 100
PPI ( Finished): 80
Yarn Count : Warp: 2/94s PC blend - High Twist ( single TM: 3.06, Double: 5.29)
Yarn Count: Weft: 2/94s PC blend- High Twist ( single TM: 3.06, Double: 5.29
Here the yarn is a simple ply yarn made of two singles evenly twisted together. This type of yarn is found in 2 by 2 rubia fabric. It has two plies of yarn in both directions.
Normally this fabric is available in 36" width. The fabric has a tensile strength of 41.25 kgf (warp) and 20.25 kgf( weft)- (20x 5 cms strip) and tear strength of 928 gm( warp) and 800 grams (weft)- KMI tear tester.
The colorfastness to washing, crocking, heat press and perspiration is 4-5. Dimensional stability after 3 cycles is 2%. 2% bow or skew and a rating of 4 wrt shade change and pilling in Abrasion ( 10K cycles). Washing shrinkage max lengthwise is 2% and widthwise is 1%.
Sunday, 23 March 2014
Technical Specifications of a Polyester Crepe Saree
A typical polyester crepe sari has the warp and weft of 100% polyester of 75 denier, the TPM of warp and weft is 1800 S&Z alternate. No. of filaments in a yarn of both warp and weft is 70 each. EPI is 132 and PPI is 86. It has a width of 44.5 inches. GSM is 72.
The ideal quality requirements and tolerance are as given below:
1. Denier: + - 5%
2. Twist per meter: +/-5%
3. No. of filaments in yarn +/- 2
4. No. of Threads per inch in warp and weft: +5%/-2.5%
5. Width : +/- 0.5"
6. Length : +/-2 cm
7. GSM: +/-3%
Other Parameters
8. Breaking Strength on 5cm x 20 cm strip, N(KGf): Warp: 240 (24.4), Weft: 190 (19.3)
9. Tear Strength , N (kgf): Warp 20 (2.0), Weft 15 (1.5)
10. Color Fastness Rating due to Light ( Change in Color):5, Washing (Change in Color):4, Staining on adjacent fabric 3-4, Perspiration acidic and alkaline (Change in Color):4, staining on adjacent fabric:4,
Rubbing- Dry-4, Wet-3, Hot Pressing: change in color-4, Staining on adjacent fabric:4
11. Crease Recovery Angle (Degrees)- Dry and Wet (240)- Minimum
BIS has to say the following about this property:
"The ability of a fabric to retain pressed-in creases and to recover from creasing is an important property, especially in case of apparel fabrics. The need for standardizing a method for evaluating crease recovery of
different fabrics has been increasingly felt with the introduction of crease resistant fabrics. When creasing force is removed from the creased fabric, it tends to recover and the creases in the fabric start diminishing at
varying rates. The magnitude of the crease recovery angle as measured according to this standard is taken as an indication of the ability of a fabric to recover from creasing.
A crease-free rectangular specimen of prescribed dimensions is folded in half so that the two limbs of the strip touch each other face to face, under a specified load and maintained in the state for a specified period.
After the creasing load is removed, the specimen is allowed to recover for a specified time.
is measured. At the end of recovery period the angle of recovery is measured"
12. Drape %: 60-75%
13. Dimensional Stability to dry heat at 105 +-2 deg C in %, Warp:1%, Weft:1%--> maximum.
In this method a sample of fabric is heated by contact with a plain, hot surface under accurately known conditions and changes in specimen dimensions are measured.
14. Dimensional change on washing percent: Warp:2, Weft:2--> Maximum
16. Pilling resistance ( after 5 hours of test): 4--> Minimum
17. Soil Release Efficiency (percent): 80--> Minimum
BIS has to say the following about this property:
"The soiling of textile fabrics is one of the most difficult problems associated with their use. Cotton and cellulosic fabrics do not pose a severe problem of soiling because of their high moisture regain. Nevertheless, the resin finished cellulosic fabrics and fabrics rich in synthetic fibres pose a severe problem of soiling during their usage. The soiling of fabrics is due to: ( a ) interfacial attraction or Van der Wall forces, ( b ) electrostatic attraction, ( c ) mechanical forces, and ( d ) hydrophobicity of the fibres.
The soil is mainly of two types, namely, dry or particulate soil and oily or greasy soil. The former which includes particles of dust, sand, earth, soot, metallic oxides and carbon with tarry substances may be hydrophilic ( metallic oxides ) or hydrophobic ( carbon ) in nature. The latter includes glycerides, long chain fatty acids and alcohols, lubricating oil, etc, which are mostly hydrophobic.
A specimen of the fabric under test is soiled with synthetic soil, washed under prescribed conditions and dried. Simultaneously, a control specimen and a control washed specimen are taken from the fabric under
test. The soil resistance and soil release efficiency of the fabric is determined using the spectrophotometer."
18. pH value of aqueous extract (Hot Method): 6.0 to 8.0
BIS talks about this property:
"The @H of aqueous extract of the textiles affords a useful index to its processing history. In addition, it is becoming more common to demand that the textile, in its various forms, shall conform to certain limits in respect of its acidity or-alkalinity, often expressed in terms of PH values of aqueous extracts."
Under Hot Method, a flask known as Erlenmeyer flask is washed with distilled or deionized water. One test specimen is taken and added to this 100 ml of distilled or deionized. water.The contents are boiled for one hour under reflux condenser. The contents are cooled to room temperature and pH of aqueous extract is measured.
19. Abrasion Resistance ( 5000 cycles) ( Martindale): 4
20. Limited Flame Spread Index : 2--> Minimum
The ideal quality requirements and tolerance are as given below:
1. Denier: + - 5%
2. Twist per meter: +/-5%
3. No. of filaments in yarn +/- 2
4. No. of Threads per inch in warp and weft: +5%/-2.5%
5. Width : +/- 0.5"
6. Length : +/-2 cm
7. GSM: +/-3%
Other Parameters
8. Breaking Strength on 5cm x 20 cm strip, N(KGf): Warp: 240 (24.4), Weft: 190 (19.3)
9. Tear Strength , N (kgf): Warp 20 (2.0), Weft 15 (1.5)
10. Color Fastness Rating due to Light ( Change in Color):5, Washing (Change in Color):4, Staining on adjacent fabric 3-4, Perspiration acidic and alkaline (Change in Color):4, staining on adjacent fabric:4,
Rubbing- Dry-4, Wet-3, Hot Pressing: change in color-4, Staining on adjacent fabric:4
11. Crease Recovery Angle (Degrees)- Dry and Wet (240)- Minimum
BIS has to say the following about this property:
"The ability of a fabric to retain pressed-in creases and to recover from creasing is an important property, especially in case of apparel fabrics. The need for standardizing a method for evaluating crease recovery of
different fabrics has been increasingly felt with the introduction of crease resistant fabrics. When creasing force is removed from the creased fabric, it tends to recover and the creases in the fabric start diminishing at
varying rates. The magnitude of the crease recovery angle as measured according to this standard is taken as an indication of the ability of a fabric to recover from creasing.
A crease-free rectangular specimen of prescribed dimensions is folded in half so that the two limbs of the strip touch each other face to face, under a specified load and maintained in the state for a specified period.
After the creasing load is removed, the specimen is allowed to recover for a specified time.
is measured. At the end of recovery period the angle of recovery is measured"
12. Drape %: 60-75%
13. Dimensional Stability to dry heat at 105 +-2 deg C in %, Warp:1%, Weft:1%--> maximum.
In this method a sample of fabric is heated by contact with a plain, hot surface under accurately known conditions and changes in specimen dimensions are measured.
14. Dimensional change on washing percent: Warp:2, Weft:2--> Maximum
16. Pilling resistance ( after 5 hours of test): 4--> Minimum
17. Soil Release Efficiency (percent): 80--> Minimum
BIS has to say the following about this property:
"The soiling of textile fabrics is one of the most difficult problems associated with their use. Cotton and cellulosic fabrics do not pose a severe problem of soiling because of their high moisture regain. Nevertheless, the resin finished cellulosic fabrics and fabrics rich in synthetic fibres pose a severe problem of soiling during their usage. The soiling of fabrics is due to: ( a ) interfacial attraction or Van der Wall forces, ( b ) electrostatic attraction, ( c ) mechanical forces, and ( d ) hydrophobicity of the fibres.
The soil is mainly of two types, namely, dry or particulate soil and oily or greasy soil. The former which includes particles of dust, sand, earth, soot, metallic oxides and carbon with tarry substances may be hydrophilic ( metallic oxides ) or hydrophobic ( carbon ) in nature. The latter includes glycerides, long chain fatty acids and alcohols, lubricating oil, etc, which are mostly hydrophobic.
A specimen of the fabric under test is soiled with synthetic soil, washed under prescribed conditions and dried. Simultaneously, a control specimen and a control washed specimen are taken from the fabric under
test. The soil resistance and soil release efficiency of the fabric is determined using the spectrophotometer."
18. pH value of aqueous extract (Hot Method): 6.0 to 8.0
BIS talks about this property:
"The @H of aqueous extract of the textiles affords a useful index to its processing history. In addition, it is becoming more common to demand that the textile, in its various forms, shall conform to certain limits in respect of its acidity or-alkalinity, often expressed in terms of PH values of aqueous extracts."
Under Hot Method, a flask known as Erlenmeyer flask is washed with distilled or deionized water. One test specimen is taken and added to this 100 ml of distilled or deionized. water.The contents are boiled for one hour under reflux condenser. The contents are cooled to room temperature and pH of aqueous extract is measured.
19. Abrasion Resistance ( 5000 cycles) ( Martindale): 4
20. Limited Flame Spread Index : 2--> Minimum
Saturday, 22 March 2014
Technical Specifications of Some Popular Synthetic Fabrics-1
Here are the technical specifications of some of the popular synthetic fabrics used in India for Ethnic wear.
Poonam
Warp is a combination of 62/36/1770-"S" Semi dull crimp polyester and 62/36/1880-"Z" semi dull crimp Polyester(2 x2). Here 62 is the denier, 36 is the number of filaments and 1770 is the no of twists per meter.
Weft is the same as warp.
Total number of ends are 3840 in a reed space of 51 inches with a reed and pick of (72 x2) x 68. In a 100 meter cloth the weight of warp is 3.1 kg and that of weft is 2.5 kg to make a total of 5.6 kg of cloth.
Dani Chiffon
Warp is a combination of 20/6/1400 full dull Nylon "S" and "Z" and weft is the same as warp.
Total number of ends are 4080 in a reed space of 40 inches with a reed and pick of (96 x2) x 80. In a 100 meter cloth the weight of warp is 1.05 kg and that of weft is 0.75 kg to make a total of 1.8 kg of cloth.
Poonam Dani Chiffon
A popular fabric for dupatta is Poonam Dani Chiffon. It is a 100% polyester in plain weave. Warp is a combination of filament polyester yarn 75/36 denier twist 1800/S and 75/36 denier with 1800 TPM in Z direction. Weft is Filament polyester yarn with 75/36 denier twist is 1800/S and 75/36 denier with a twist of 1800/Z. It has a general width of 113 cm and a finished weight of 65 GSM.
Ideal tensile strength by grab test method for this fabric is 13.2 Kg for warp and 19.6 kg for weft. Tear strength with KMI tester is 3520 grams for warp and 3392 grams for weft.
It should have a rating of 5 in colorfastness to sunlight, washing, crocking, heat press and perspiration. Dimensional stability should have a tolerance of 2% after 3 cycle. Bow/Skew should be within 2%. It should have a rating of 5 in shade change and pilling under an abrasion testing of 10000 cycles. Length wise washing shrinkage should be 2% and width wise 1% maximum
100 x 100 Georgette
Warp is a combination of 100/44/1770 Viscose "S" and "Z", Weft is same as warp.
Total number of ends are 3276 in a reed space of 50 inches with a reed and pick of (64 x2) x 60. In a 100 meter cloth the weight of warp is 4.3 kg and that of weft is 3.6 kg to make a total of 7.9 kg of cloth.
Warp is a combination of 50/36 Bright flat Poly Sized and Weft is a combination of 50/36 Bright flat Poly Sized yarn.
Total number of ends are 6000 in a reed space of 59 inches with a reed and pick of (100 x2) x 80. In a 100 meter cloth the weight of warp is 3.9 kg and that of weft is 2.9 kg to make a total of 6.8 kg of cloth.
Poonam
Warp is a combination of 62/36/1770-"S" Semi dull crimp polyester and 62/36/1880-"Z" semi dull crimp Polyester(2 x2). Here 62 is the denier, 36 is the number of filaments and 1770 is the no of twists per meter.
Weft is the same as warp.
Total number of ends are 3840 in a reed space of 51 inches with a reed and pick of (72 x2) x 68. In a 100 meter cloth the weight of warp is 3.1 kg and that of weft is 2.5 kg to make a total of 5.6 kg of cloth.
Dani Chiffon
Warp is a combination of 20/6/1400 full dull Nylon "S" and "Z" and weft is the same as warp.
Total number of ends are 4080 in a reed space of 40 inches with a reed and pick of (96 x2) x 80. In a 100 meter cloth the weight of warp is 1.05 kg and that of weft is 0.75 kg to make a total of 1.8 kg of cloth.
Poonam Dani Chiffon
A popular fabric for dupatta is Poonam Dani Chiffon. It is a 100% polyester in plain weave. Warp is a combination of filament polyester yarn 75/36 denier twist 1800/S and 75/36 denier with 1800 TPM in Z direction. Weft is Filament polyester yarn with 75/36 denier twist is 1800/S and 75/36 denier with a twist of 1800/Z. It has a general width of 113 cm and a finished weight of 65 GSM.
Ideal tensile strength by grab test method for this fabric is 13.2 Kg for warp and 19.6 kg for weft. Tear strength with KMI tester is 3520 grams for warp and 3392 grams for weft.
It should have a rating of 5 in colorfastness to sunlight, washing, crocking, heat press and perspiration. Dimensional stability should have a tolerance of 2% after 3 cycle. Bow/Skew should be within 2%. It should have a rating of 5 in shade change and pilling under an abrasion testing of 10000 cycles. Length wise washing shrinkage should be 2% and width wise 1% maximum
100 x 100 Georgette
Warp is a combination of 100/44/1770 Viscose "S" and "Z", Weft is same as warp.
Total number of ends are 3276 in a reed space of 50 inches with a reed and pick of (64 x2) x 60. In a 100 meter cloth the weight of warp is 4.3 kg and that of weft is 3.6 kg to make a total of 7.9 kg of cloth.
| Marble Chiffon |
Warp is a combination of 50/48/2800-"S" of Semi Dull flat Poly and Weft is a combination of 50/48/3025 Z semi dull flat poly yarn.
Total number of ends are 4600 in a reed space of 58 inches with a reed and pick of (76 x2) x 76. In a 100 meter cloth the weight of warp is 3.1 kg and that of weft is 3 kg to make a total of 6.1 kg of cloth.
China Yoryu Saree
Total number of ends are 6000 in a reed space of 59 inches with a reed and pick of (100 x2) x 80. In a 100 meter cloth the weight of warp is 3.9 kg and that of weft is 2.9 kg to make a total of 6.8 kg of cloth.
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