|
Great Women Building a Gracious World Volume 1, Issue 3 November/December 2006
|
|
Fiber means fun, by Elizabeth Blake
Steal our Button! (Load to your server, please!)
November/December Contributing Writers Sandra Bennett, Wendy Bernard, Pam Blasko, Cathy Clark, Kathy Fellows, Marni Harang, Joy Jannotti, Renee Lyons, Caryll McConnell, Shirley McNulty, Jane Plaughter, Margaret F. Rankin, Bobbie Ripperger, Joanne Seiff, Barbara Sheehey, Leslie Shelor, Teresa Simons, Sister Eugenia, Lynda Sorenson
Fiber Femmes is published bi-monthly on-line by:
Fiber Femmes 12206 Squirrel Spur Road Meadows of Dan, Virginia 24120 Email: fiberfem@fiberfemmes.com Submissions: submissions@fiberfemmes.com Advertising: advertising@fiberfemmes.com
Editor: Sandra Bennett Publisher: Leslie Shelor
While every precaution has been taken to ensure accuracy of material published, Fiber Femmes cannot be held responsible for opinions or facts provided by authors, advertisers or agencies. Authors retain ownership of their material and reproduction without their written consent is prohibited. Agencies, advertisers and other contributors will indemnify and hold the editors harmless for any loss or expense resulting from claims or suits based upon content of any advertisement, defamation, libel, right of privacy, plagiarism and/or copyright infringement. The views expressed by contributors are not necessarily those of the editors.
|
Fiber in the News
Secret Granny Knitting Network
The New 'granny chic': http://www.dailymail.co.uk/pages/live/femail/article.html?in_article_id=409354&in_page_id=1879&in_a_source
Charlotte's Goat by Christopher Helman
"In a concrete bunker
on a mothballed Air Force base in Plattsburgh, New York, two Nigerian dwarf
goats named Mille and Muscade joyfully munch grass and slurp water. Oddly,
they are protected from intruders by security guards and razor wire.
For the rest of the story, visit http://www.forbes.com/global/2001/0219/061_print.html Wool Biopolishing Process Scratches the Itch Factor http://www.ars.usda.gov/is/AR/archive/may05/wool0505.htm
From the agency that brought you permanent-press cotton and permanent creases in wool trousers in the 1960s comes an exciting new breakthrough.
Researchers at the ARS Eastern Regional Research Center in Wyndmoor, Pennsylvania, have developed a biopolishing method that makes scratchy wool feel silky smooth. Not only does it remove the itch factor, it also bleaches the wool to a high level of whiteness and alters the surface of wool fibers to make them shrink-proof.
According to Jeanette Cardamone, a textile chemist in the center’s Fats, Oils, and Animal Co-products Research Unit, their method increases smoothness and shine on the fabric’s surface by removing fiber-yarn ends projecting from it. This contributes to a pleasing feel, which increases wool’s appeal for fashion uses.
The process involves two steps. First, an activated peroxide bleach is used to whiten the wool fibers and remove the protective lipid barrier that surrounds them. This step bleaches the wool at lower temperatures and in half the time as conventional techniques, which cuts processing costs, according to Cardamone. And because it removes the lipid layer, the peroxide treatment also makes the fibers more receptive to dye.
“High-temperature dyeing is traditionally used with wool because of the lipid barrier to dye uptake,” Cardamone says. “Although wool has resilient properties, those high temperatures weaken the fiber. Our process lets wool be dyed at lower temperatures, preserving its strength.”
The second step—enzyme treatment—is what makes machine-washable wool a reality. The surface of a woolen fiber is covered with microscopic scales, somewhat like scales on a fish or shingles on a roof. Wool shrinks during machine-washing because the heat and pressure lock the scales in place. The enzyme treatment “digests” the scales so they can’t become locked. This controls shrinkage without loss of strength or elastic recovery.
The same lipid layer that makes wool resistant to dye uptake would usually protect the scales against such an enzyme attack. But the bleaching step removes that protection.
“No damage is done to the underlying fiber structure, and the fabric’s mechanical properties are not changed, because the enzyme activity is limited to the outside layer, or cuticle,” Cardamone says. An additive is used in both the bleach pretreatment and the enzyme treatment to keep the enzymes out of the fiber’s inner structure.
The process can be applied to everything from loose fibers to yarn, fabric, or completed garments.
Good News for Wool Industry
Washable wool has been available for about 35 years, but the processing required for it is not done in the United States. Wool fiber and fabric are conventionally made shrinkage resistant by a process called “chlorination.” Like the new ARS method, chlorination alters the fiber’s cuticle. But chlorination is not allowed in the United States because it produces chemicals of environmental concern. So we import all our shrinkage-resistant wool.
In the United States, wool is mainly a byproduct from breeds of sheep raised for meat and ranges in quality from fine to coarse. The new method could help the U.S. wool industry compete against countries like Australia, which produces a fine, soft wool from Merino sheep.
The U.S. military is interested in using biopolished wool, especially for manufacture of underwear for our troops. Cardamone says underwear garments currently being used by the military contain synthetic fibers that can burn and melt into wounds during combat situations. Wool, on the other hand, produces a self-extinguishing flame and a dissipating ash when burned.
By law, in fact, uniforms must be produced domestically or in a country with which the United States has a free-trade agreement. The Berry Amendment to 2004’s Defense Federal Acquisition Regulation Supplement and the Buy American Act require the U.S. government—in particular, the Department of Defense—to procure (generally) only U.S.-manufactured textiles and apparel.
Mill trials are under way specifically to meet military needs. The woolen-mill industry is interested in licensing the process, but if it is used for the military, no licensing is required. Military field trials are also ongoing. Concurrently, textile mills are applying the process to new and existing wool fabric lines to evaluate its commercial value as a replacement for imported, chlorinated wool textile products. All processing can be completed by wool mills within the United States, promoting use of domestic wool.
ARS filed a patent on the technique. The American Wool Council, a division of the American Sheep Industry Association, provided partial funding for the research.—By Jim Core, Agricultural Research Service Information Staff.
This research is part of Quality and Utilization of Agricultural Products, an ARS National Program (#306) described on the World Wide Web at www.nps.ars.usda.gov. For further information on U.S. Patent Application No. 10/730,208, “Methods of Improving Shrink-Resistance of Natural Fibers, Synthetic Fibers, or Mixtures Thereof, or Fabric or Yarn Composed of Natural Fibers, Synthetic Fibers, or Mixtures Thereof,” contact Jeanette Cardamone, USDA-ARS Fats, Oils, and Animal Co-products Research Unit, Eastern Regional Research Center, 600 East Mermaid Ln., Wyndmoor, PA 19038; phone (215) 233-6680, fax (215) 233-6795.
"Wool Biopolishing Process Scratches the Itch Factor" was published in the May 2005 issue of Agricultural Research magazine. Radical Lace and Subversive Knitting http://www.madmuseum.org/site/c.drKLI1PIIqE/b.1111171/apps/s/content.asp?ct=2097967
January 25 - June 17, 2007
A provocative and timely exhibition of
work by international artists using fiber in unexpected and unorthodox
ways, Radical Lace & Subversive Knitting illuminates a field of creative
practice that is fresh, surprising, and
engaging. Featuring 27 artists from
seven countries, this exhibition will exhibit work that ranges from Althea
Merback's microknit garments (1:144 scale) to large-scale, site-specific
installations. Artists employ a variety
of media, from traditional yarns and
laces, to found objects and video, and explore contemporary currents in
art practice of socially engaged, participatory work.
|