Paco Rabanne autumn/winter 1999

Rabanne enters a cosmic world this season in harmony of white and beige inspired by the film franchise 'Star Wars'. The revolutionary futurist utilized natural materials like wool, cotton and leather instead of metal. Wearing cape blouson as coat.

Chewing Cotton Wool

table of contents/pairing: daniel ricciardo x reader

summary: Once she's gone, she's all he can see

warnings: angst with a cliffhanger

message from A☆: First post !! so this has a little bit of the song lyrics of the song it's inspired by (Chewing Cotton Wool by The Japanese House) mixed in. How I formatted it is that you'll read part of the song lyrics and then you'll see the corresponding part of the fic (btw, i didn't use all of the lyrics, only the ones i felt worked well with the storyline). And the ending might lead to a part two, but we'll see !! I really love this fic, so I hope you enjoy...

She's the only one around And she's turning off the lights And she's inside every crack She's the only thing in sight

It's been months since they last saw each other, months since Daniel left Y/N. He didn't want to, neither of them did, but it was what was best for them. The relationship was never toxic, just strange and distant. He was away all the time, so focused on racing he'd often ignore her without realizing it, even when she came to the paddock with him. As much as Daniel adored her, he knew she deserved better. Sure, it hurt alot when he told her, but for some reason it hurt more now. Everything reminded him of her now. She's the only thing on his mind, the only thing he could see.

She's the only one I see [...] She's the dust upon the sill She's everywhere

Daniel saw Y/N everywhere, in the little things. He saw her in the empty space beside him in bed every morning, in the sound of a stranger's laugh, when he'd pass the places they'd go to together, when he'd smell someone wearing her same perfume. It was almost like his subconscious craved her; her physical being, her scent, her voice, everything about her. He missed the way her fingers laced through his hair, the feeling of her breath on his neck whenever she'd whisper something funny to him, he needed it all like the oxygen he breaths.

She's the trailer for a film She's the curtain at the end

Even movies would remind him of Y/N. Every movie they'd seen together, the ones she'd loved since was a kid, the ones she wouldn't shut up about even months after watching them; each and everyone reminded Daniel of her. When the trailer for one of those films would pop up, he'd curse his brain for reminding him of her. Sometimes, when he was missing her enough, he'd cave and watch one of the movies. It didn't matter if it was a comedy or a drama, some stupid chick-flick or a rom-com, by the time the credits were rolling he'd have tears sliding down his cheeks. He'd give the world to watch them with her again.

She's the sound of your own voice She's someone else's drink

Like usual, he'd go out with friends after races. You'd think this was a good way to distract himself, but something would always remind Daniel of her. He'd look around at the other people surrounding him, when someone else's drink would catch his eye: it was the same drink Y/N always ordered. It's funny how something so menial would remind him of her and leave him longing for a past time. He'd turn back to continue speaking to whoever he was with, pushing that feeling of pining down to the pit of his stomach.

She's a memory I record [...] She's chewing cotton wool

Daniel's at home, cleaning out a drawer. It held multiple old polaroid pictures and scrapbook albums, all from different points in his life. As he's going through them he finds an album with a navy blue, fabric hard cover. It has both his and y/n's initials embossed on the spine, and as he flipped through it he felt tears pricking his eyes. Photographs, movie tickets, dinner bills, doodles, little notes filled the album. It was like his life was flashing before his eyes, now she was just a memory recorded in those albums. Everything now was like mourning the death of something, maybe something in both of them died when they broke up.

He knew it was over, it had been over. But as he typed her number into his phone, was it actually the start of something else...?

I have been thinking about the costuming in Willow a lot, and yes this is for fanfiction reasons but it's also just for fun. As background, my non-fandom hobbies are mostly textile based: I sew garments and teach sewing classes, I'm an experienced knitter and handspinner and I've started to dabble in wool processing from fleece and four-shaft weaving.

So once I get into a Textile Puzzle Hole I can go pretty deep, and this is a fun and important part of understanding the worldbuilding for me.

Because they're doing a thing with Willow that - I actually really enjoy. It's not "classic fantasy" in the sense that it's not period-appropriate or of a specific era that we'd recognize. They're also clearly trying to call back to the 80s roots of the original film with some of the design choices; mostly the elements of armor and clothing that they're pulling from traditional martial arts clothing and the existence of Fun Fantasy Denim.

A lot of my thoughts aren't necessarily about critique, but more about trying to put together a cohesive rubric for myself as to what the costuming aesthetic is. Because it's not "anything goes," it's got a specific vibe and a clear voice and I want to "get it" more for my own writing and for my own understanding.

I think the two rules that I've drilled down so far are:

Textiles As Artisan Material (all-handmade, no fantasy spandex)

Function Over Form

1. Textiles As Artisan Material So to get into this a little, I want to get into the idea of how textiles are made because for me I'm In Deep and know a lot about the raw material to cloth to garment process but the average person does not. (I will say, I'm excepting the Cuirass from all of this - we know metatextually that it's a 3d printed stretch fabric bodysuit; it's also magic so it doesn't count.)

So, the average person is used to textile production that is predicated on post-industrial-revolution technology. Meaning:

power-driven machines for weaving and spinning

computer technology available in spinning and weaving machinery to allow for easy production of highly complex cloth structures and patterning

overabundance and artificially low costs of raw materials

When you are thinking of fabric (and I'd include cloth and leather here but not metal armor) as a skilled artisan material, understanding the reasoning for, for instance, Jade having one shirt for the entire series involves understanding what steps are involved. Then, we can understand how many human beings are involved in fabric and therefore garment production and also how many people need to get paid along the way. A piece of cloth entirely handmade for a garment would involve:

a producer to grow the textile fiber (cotton, flax, wool, hide for leather)

skilled artisans to process the fiber (washing, preparing for spinning which could include combing/carding wool, retting flax, etc, leather tanning)

skilled artisans to add dye. This can be done at the stage of prepared fiber, finished thread/yarn, or finished cloth. In a real-world/modern context, this would have significant impact on the cost of cloth. Certain colours (reds, purples) are much harder to dye true than others or require more expensive dyestuff.

skilled spinners to turn the fiber into fine threads for weaving - depending on the fineness needed for the specific weave of the cloth this could be weeks to months of work. Thinner threads will take more time but have more drape and be less stiff as a cloth, so you'd need thin threads for next-to-skin garments like undershirts, and for fine fabrics in things like dresses or fancy formalware

weavers to weave the threads into cloth. Again, the timing here would depend on the type of thread being used but it would also depend on whether or not there are any woven-in embellishments as components of the cloth. Basic cloth in plain weave would take time but not a lot of extra skill; twills or patterning require more time and weaving skill.

embroiderers to add any embellishments either to the base cloth or to the finished garment

tailors and seamstresses to make garments to measure, which would involve cutting any pieces out of the finished cloth and turning it into a garment the correct size for the wearer. If we are assuming that the mechanical sewing machine has not been invented, then garments would be sewn by hand.

handsewing a correctly finished garment involves more than just tacking the pieces together; seam finishes so that the cloth doesn't unravel often require going over the same seam line one or more times. The labour hours in this step cannot be overstated.

metalworkers or other craftspeople to make fastenings and finishings: buttons, toggles, grommets on lacing that weren't handsewn, etc.

leather garments would be made by a separate type of textile worker, since leatherwork requires different tools and a different skillset to successfully construct garments.

So for a basic garment we're looking at needing to pay six separate types of skilled artisans for their work, up to six or seven if it's a garment with elaborate fittings and/or finishing such as buttons or metal fasteners.

The textile economy is relevant here because it is going to translate directly into style. Cutting fabric into patterned shapes leaves waste; this is fine if you're using mass-produced fabric that you can easily afford to replace but if cloth is the 10/10 most precious thing in your garment, you're going to try to cut it into as low-waste a design as possible. It might also lead to less fussy fitting, so that garments are adjustable and can be used by a person for much longer.

It also translates into textile types. Prior to the advent of mechanical knitting machines, any knit (stretch) fabrics would be hand knit. If you have ever tried knitting yourself, you understand that knitting with thin thread takes more time, and therefore more labour hours.

What this means for clothing in-universe on Willow is:

almost entirely woven fabrics, with the exception of handknitting (see: Elora’s scarf-shawl)

this likely does translate into undergarments; I've been looking at regency and late-Victorian era examples to get my head around. The modern bra and panty set is heavily heavily dependent on not just machine knit fabric but also a TON of petroleum-based synthetic textiles that cannot be produced without modern post-industrial means.

fastened using items that can be handmade! Buttons, toggles, clasps, ties or belts for the most part, with the occasional Fantasy Rivet or Fantasy Grommet.

precious! so precious! Expensive to produce and also worth caring for; we see some examples of visible mending in-show and that would have been the standard for everyone with the exception of Kit and Airk.

2. Function Over Form So this is maybe something that I only think about because I sew, but the modern eye is really used to equating and understanding "woven" fabrics and "stretch woven" fabrics as equivalent. Jeans are the easiest example to think about: they're made with denim, but in things like skinny jeans that denim is usually blended with some kind of spandex. Typical woven fabric doesn't stretch in either direction in a meaningful way; stretch-woven fabrics do so because of the synthetic textile content.

So a lot of the design choices that we see in the show really have to take into account that those textiles won't stretch with movement, and that the wearers need to be able to swordfight:

larger, baggier shirts with cuffs or vests rather than more fitted shirts, to allow for full movement at the elbow and shoulder

trousers that have a bit of extra wearing ease at the hip and thigh, so that when the wearer sits or squats there is room for the change in their body shape with these positions

there are a couple of GREAT leather jackets (Kit's in the early season especially), but if you look closely there's actually a grommet-and-lacing system to attach the sleeve head to the body, so that the shoulder still moves. So clever!

Anyway I have been having a lot of fun thinking about this and deconstructing the garments further. Thinking more about the costuming helps me find the worldbuilding details that make it easy for me to write, and I’d love to chat about this lots and lots! I do have some screenshot receipts for this; I didn’t include them because I mostly just wanted to write and not do ~graphic design today.

Worldbuilding: The ASPIRE Method

Part 2 - Arts

Now available on Patreon!

I'm including the first third of it here on tumblr for free. The rest is available on Patreon for as low as $1 to access all posts.

A – Arts

When physically visiting a society for the first time, Art will be one of the first things a person encounters, namely in the form of fashion, signage, and architecture. When studying a culture from afar, it is often among the last. In that regard, the order in which your story takes place will have varying degrees of exposure to the culture’s art.

In a visual medium, art provides a subconscious element of worldbuilding that can help set tone without having to take up time in the dialogue. Background characters and so on can inform the world in a colorful manner, suggesting elements of culture to the viewer while the foreground conveys the story itself. In a written narrative, mentions of art and artistry take up time and space by nature, and so you have to pick and choose which elements you talk about. The mention of a single form of art is used to suggest a much deeper background. In both cases, determining which art exists will help you decide which you display to the audience in pursuit of telling your story.

Which forms of art are most common?

Some cultures have very elaborate architecture. Others don’t put much time and effort into architecture, but do a lot with textiles. Paintings are going to be more common in regions where canvas or paper are easier to make. Some regions will have a focus on wooden or stone carvings that are unlikely, or even impossible, in others. Most have music, but frequently different kinds. All of these are forms of art, but not all of them are necessarily going to be common in the world you are building.

Ask yourself which of these forms and mediums of art are ones your culture puts time into, and why:

Architecture: stone, wood, or other

Painting and drawing: on canvas, on stone, on paper, on vellum

Sculpture: stone or wood, clay, metal (wire or mold), rubber, glassblowing, etc. - This includes aesthetic pieces, but also things like functional ceramics and furniture crafting

Textiles: fashion, tapestry, beadwork, interior design

Literature: written or oral, includes prose, poetry, and nonfiction

Film and Theater

Music and Dance

Culinary arts

Cosmetics

And when you decide on them, ask yourself why? What is it that has your culture focusing on one thing at the expense of others? For instance, if your culture is one where inclement weather is a major problem, then architecture may focus primarily on durability, and less so on visual appeal; in turn, the actual focus of artists is more likely to be an indoor activity, like storytelling or music. However, the primary dictator of what art people do is what they have to work with.

What tools are available to your artists?

The further in the past your story is set, the less likely your culture’s people are to have access to a wide variety of pigments and materials. Natural sources of pigment are limited, especially when there are low levels of trade. The local community is also likely to prioritize certain kinds of crops over others, which has a direct influence on the accessibility of textiles and paper.

A culture with a short growth period will likely prioritize food over any form of creative resources; textiles will likely be livestock-derived (like wool and skins), rather than cotton or linen, and will also have much less availability of plant-based art supplies like canvas, paper, and so on. They may focus on pragmatic art forms, such as teaching tools, or styles that can be built into things that are already being crafted, like weaving patterns. Their themes may also be influenced by having more free time in the winter.

Meanwhile, tattoos are popular across the world due to only requiring pigment and a sharp implement… and the knowledge of how to not get infected.

A more modern artist will have access to a wide variety of tools and options, including things like cameras and recording equipment.

Consider these elements:

Which pigments are available? How are they sourced? Which can be safely used for paint, textiles, construction, and cosmetics? - Pigments can be derived from plants, minerals, animals, or synthetic processes. If your world has low trade, figure out which ones are common in the area. Some pigments can be used in paint but are less functional for dyeing. Some can’t be ingested, and so aren’t safe for culinary arts, but are very good for oil painting. - A paint that is toxic to the skin may be used in cosmetics and textiles (see: lead face paint, which was used even when knowing the toxicity), but is much more likely to be used in painting and construction.

Which plants grow nearby? What can they be used for? - Are the trees suitable to carving, to steam bending, to architecture, to weaving? - Can other plants be processed into textiles, pigments, food? - Is there something unique and interesting, like a bioluminescent algae that can be used for glowing paint?

Which animals are available? Are they domestic or wild? How are they used? - Animals can be used for enabling other arts, such as oxen pulling plows to grow basic crops. - Some can be trained to perform, for dance and theater. - They can also be raw materials. This includes wool, feathers, furs, leather, vellum, horns, bones, silk, and even skins for glue. Some are hunted, and some are cultivated. - Note that antler, certain feathers, and wool can be harvested without harming the animals, and would be useful for a society that tries to abide by pacifist or vegan principles. - Others can also be gathered after a natural death, like bones, horn, and skins. The only ones that require a forced death or harm are vellum and certain kinds of silk, though natural death may impact the quality of other materials, like skins and furs.

Which raw materials are inherent, which need to be gathered, and which need to be cultivated? - A person’s own voice or body does not need to be gathered. A dancer or singer does not, for the most basic forms of art, need tools. - Sand for glassblowing does need to be gathered, but occurs naturally. - Flax for linen needs to be cultivated before processing, with a dedicated growth period in temperate climates (helpfully, it also produces food).

For a few historic examples, consider that Tyrian Purple is an uncommon color in textiles before the introduction of aniline dyes, and so Tyrian purple is often limited solely to royalty in period works. This includes the classic Roman example, but also the use of ‘Royal Purple’ and related shades in England after the introduction of a sumptuary act in 1463.

Since the Iron Age, darker, less saturated shades of purple could be achieved through mixing red (e.g. madder) and blue (e.g. woad, indigo), but are generally less intense, and still expensive due to the need for two forms of dye. Meanwhile, common colors in Medieval English art included, among other things, ochres, woad, madder, and chalk.

How intense is the processing period for materials?

How many people need to be involved in that processing? Can it be done in one day, by one person?

Weaving a basket from reeds is relatively centralized. One person can gather materials, cut them to size, and produce the final product.

Synthetic materials require oil drills and chemical production plants, employing hundreds of workers.

Creating a wool and linen dress requires: - farmers (both for sheep and for flax) - processing to clean and spin the raw materials - weavers to make the base textiles - dyeing vats to add color - a dressmaker to actually put together the final product - The support for this process also includes someone who makes buttons or other ties, someone who crafts looms, someone who makes barrels, and someone who breeds dogs for herding those sheep.

Is it theoretically possible for someone to unilaterally do everything from start to finish with no outside help? Yes. Are some of these elements vertically integrated? Probably! Is it likely, or a good idea, to handle everything from start to finish? Not for most scales of production. While farming and spinning are often done by the same people, it’s more likely to be a family business than a solo one. One farm can include the process from start to finish, but your couture dressmaker isn’t very likely to be your shepherd.

Human history is a patchwork of people specializing their skills in order to maximize productivity so everyone can have more free time at the end of the day. If one person has the loom best suited to making linen bedsheets, and another has a loom better designed for woolen cloak fabric, the individuals will produce more fabric in total if they each specialize on their looms, and then trade the results, rather than swapping looms or buying their own. This subject will be touched on in greater detail in the Economics section.

“As the World Burns: Queer Photography and Nightlife in Boston,” SMFA: Tufts, opening night.

Photo 1: Avram Finkelstein (b. 1952) Untitled. Wool, cotton, and Lurex. Commissioned by The Shed in New York City in 2019, Avram Finkelstein's monumental jacquard weaving references his 1972 needlepoint portrait of his friend B. while incorporating other multifaceted source material, such as a digital iPhone manipulation of B.'s hand from one of Nan Goldin's photographs superimposed on photos of the hands of Finkelstein and David Armstrong. In manufacturing textiles through sequenced punch cards, the early nineteenth-century Jacquard machine led to more advanced computing hardware and eventually digital media, like those the artist utilized to create the image adorning this tapestry. More than a paean to queer friendship, the work Invites speculation on social, technological, and linguistic shifts related to gender and representation since the advent of modernity -that is, long before the 1970s. Untitled, 1972 participates in a rich dialogue with As the World Burns (photo 3) Mark Winer's digitized film from 1973, since both are loving portraits of B. and her community.

Photo 2: Photographs of queer Boston by bartender Jim McGrath at famed bar Playland.

Photo 3: As the World Burns, Mark Winer’s queer parody of As The World Turns, shot 1973

Photo 3: Nan Photographing at The Other Side, Boston, 1973, photographed by Allen Frame

29 for the ao3 wrapped my beloved

29. Favorite line/passage you wrote this year?

I'm gonna be honest, this answer kinda got away from me :P I started making a list of my favourite lines from each fic, to help me choose,,, and now I can't choose. So instead I'm gonna choose one line/passage from every single fic I wrote this year :D I've split it into sections based on where I've posted the fic, to make it easier to read. If I had to choose one favourite, though... probably the first one in the list? I did my first fic rewrite this year and I think it went really well, so :P

Posted on AO3 (Suntooth)

He gazes up at the bedrock ceiling above him as he falls ever-faster through the Void, shimmering black stardust clinging to his arms as he reaches up and tries to touch the stars. (Ashes to ashes, dust to dust [REWRITTEN])

But denial is the strongest drug, and they act as if everything is okay. (iscariot, you fool)

A mass of vile soot, black, and eyes of Void / A mean, obscene creation; curséd soul / Its half-lid blinks keep time with hearts, so run! / Abscond, escape, evade, avoid its gaze. (putting pen to paper)

Even when the moon burned magenta in the sky and the wings on Grian's back changed from parrot to purple, he figured it was fine. (Meet Me In The Woods)

"We could prank him :3" Pearl said, a hint of mischief in her voice. (Grian was tired enough to not question how she'd said :3 out loud. It was par for the course with Pearl.) (Family)

"Iskall, you could not have done anything about a moon. You can't change what happened, no matter how much you want to, and all you can do now is live. For them. Okay?" (Verklempt)

Posted on AO3 (lopsidedhead)

It was buried underneath the residual panic and the numbness of his hands that had been clutching the bucket of lava, but it was like... it was like a deep instinctual pull, like a thread being pulled on, towards something, something he instinctively knew was a person, and the desire to maim. (There's Something In The Water)

His hands itched with the pins-and-needles heat of the curse, head full of burning cotton wool, and killing would be the remedy. (Until It Doesn't Hurt)

Ides cracked his eyes open, a dark film over his vision as he squinted at the ever-bright stars that glittered and swirled around his body. Tendrils of the deepest black were fixed around his legs as he floated in Void, although he felt nothing. (the light at the end of the tunnel (is sometimes the train))

The world is crumbling a hundred blocks or so away, trees disappearing into the aether as the world prepares to implode into itself, making way for the next iteration. In any other context, it would’ve been beautiful. (In Memoriam)

Not on AO3

You will never take me again. And if I have anything to do with it, you will not take my friends again either. You will not hurt innocent players any longer. Fuck you. (Dear Wormwood)

"Bad dream?" Ides whispered, and Lops only nodded in return, almost purring as Ides reached up and gently ran a hand through his hair. "It's okay. I'm here." (This Love)

He’s a completely normal human who just happens to need charging every night! And, of course, has Watcher powers, like every normal human. (Cysur Cyffur)

Maybe in some deep part of their minds, they truly hoped that they would win, together. Like intact glass in a tornado, unbroken despite the horrifying odds. (Bitter Water)

Unreleased (for right now) :3

The ice-cold Void scorched Ides’ lungs, and yet he still breathed in, pulling it into himself, wrapping his entire being in darkness. (Vide Noir)

Act cool, Johnnie.

“Hands off, bub!”

Great start. Not. Now he’s gonna hate you!

(Untitled WIP fic)

This got way too long LMAO

The Importance of Dye Fixing Agents in the Textile Industry

The textile industry is a colorful world where the vibrancy and durability of fabrics play a crucial role in the marketability of products. In this context, dye fixing agents emerge as indispensable allies in the quest for long-lasting and vibrant textiles. These specialized chemicals not only ensure that colors adhere firmly to the fibers but also play a significant role in enhancing the overall quality and appeal of textile products. 

What are Dye Fixing Agents

During the dyeing process lies the challenge of colour fastness—ensuring that dyes remain vivid and steadfast through washes and exposure to environmental elements. Dye fixing agents tackle this challenge head-on by forming strong chemical bonds between dye molecules and textile fibers. This bond significantly reduces the likelihood of fading, bleeding, or colour loss, thereby preserving the fabric’s aesthetic appeal over time. 

Types of Dye Fixing Agents

Dye Fixing Agent Manufacturers use a variety of dye fixing agents, each suited to specific types of fibers and dyes, to achieve the desired level of colour fastness. Find the below mentioned types: 

Tannic Acid-Based Fixing Agents: Derived from tannin-rich plants, these agents are effective for improving the colour fastness of natural dyes on cellulosic fibers, such as cotton and linen. They work by forming complexes with metal ions, facilitating a stronger bond between the dye and the fiber. 

Metal Chelating Agents: These agents form stable complexes with metal ions present in the dye or water, preventing these ions from interfering with the dye-fiber bonding process. This enhances the dye fixation and overall colour retention. 

Cationic Dye Fixing Agents: Primarily used for synthetic fibers like polyester and nylon, cationic agents work by forming electrostatic attractions with negatively charged dye molecules, thereby increasing the affinity between the dye and the fiber and enhancing colour fastness. 

Crosslinking Fixing Agents: By creating strong covalent bonds between the dye molecules and textile fibers, crosslinking agents ensure excellent wash-fastness and resistance to fading. These agents are preferred for their durability, especially in harsh environmental conditions. 

Anionic Dye Fixing Agents: Best suited for dyeing wool and silk, which carry a net positive charge, anionic agents form ionic bonds with positively charged dye molecules, ensuring effective dye fixation and vibrant colour retention​. 

Reactive and Non-reactive Fixing Agents: Reactive agents introduce reactive groups into the fixing agent molecules, forming covalent bonds with dye molecules and the fiber, improving dye fastness. Non-reactive agents, on the other hand, may work by film-forming on the fabric or blocking water-soluble groups on the fiber surface to improve colour fastness​.  

Each type plays a crucial role in ensuring that textiles retain their colour vibrancy and resist fading over time, underscoring the vital role dye fixing agents play in the textile industry.

The Role and Benefits of Dye Fixing Agents

1. Enhancing Colour Fastness

One of the paramount achievements of dye fixing agents is their role in bolstering colour fastness. This characteristic is crucial, as it determines how well a fabric can retain its colour through various conditions, such as exposure to sunlight, repeated washing, or mechanical wear.

By establishing a chemical fortress around the dye molecules, these agents effectively secure the dye to the fiber, minimizing the risk of fading. This process is not just about preserving the visual appeal of textiles but also about ensuring their longevity and durability. For manufacturers and consumers alike, this translates to textiles that maintain their vibrant hues and aesthetic appeal over time, even after multiple laundering cycles.

2. Preventing Dye Bleeding

Dye bleeding is a common challenge in the textile industry, especially when dealing with fabrics that feature multiple colors or intricate patterns. Dye fixing agents address this issue head-on by locking the dye molecules within the fabric’s fibers. This preventive measure ensures that colors do not migrate beyond their intended boundaries, preserving the sharpness and clarity of designs.

The significance of this function cannot be overstated, as it not only enhances the product’s overall quality but also boosts consumer satisfaction. Textiles treated with efficient dye fixing agents are more likely to hold their ground against the common pitfalls of colour blending or bleeding, ensuring that every wash leaves the design as intended.

3. Ensuring Uniform Colour Distribution

Achieving a uniform distribution of colour across a textile surface poses a significant challenge, particularly in large-scale production settings. Here, dye fixing agents play a pivotal role by facilitating an even attachment of dye molecules to the fabric fibers. This uniformity is critical for several reasons.

First, it ensures that every inch of the fabric reflects the intended shade and intensity, eliminating patches or variations that can detract from the textile’s overall appearance. Secondly, uniform colour distribution contributes to the consistency of product quality, a factor that is particularly important for brands that pride themselves on delivering exceptional and reliable merchandise.

In essence, dye fixing agents serve as the guardians of colour integrity, ensuring that from the first dye bath to the final product, the fabric remains a true representation of the designer’s vision.

4. Environmentally Friendly Solutions

The shift towards sustainability has ushered in an era where the environmental impact of textile production is under scrutiny. In this context, the role of dye fixing agents extends beyond just improving fabric quality to encompass environmentally friendly practices. Effective dye fixation minimizes the need for repeated washing and re-dyeing processes, which in turn reduces water consumption and the discharge of dye pollutants into water systems.

Furthermore, advancements in dye fixing agent formulations are increasingly focusing on biodegradable and eco-friendly components. These innovations aim to maintain or even enhance the efficacy of dye fixation while ensuring that the agents themselves do not contribute to environmental degradation.

The use of such agents aligns with the broader industry goal of reducing the ecological footprint of textile production, paving the way for a more sustainable fashion and fabric manufacturing sector.

Conclusion: ColourInn’s Commitment to Quality and Sustainability

In conclusion, the role of dye fixing agents in the textile industry cannot be overstated. Their contribution to enhancing colour fastness, preventing dye bleed, and ensuring uniform colour distribution is invaluable. As one of the leading dye fixing agent suppliers and manufacturers, ColourInn stands at the forefront of this essential aspect of textile production.

Our commitment to quality and sustainability is reflected in our innovative product range and eco-friendly practices, ensuring that our clients receive only the best in textile auxiliaries and chemicals. At ColourInn, we understand that the beauty of textiles lies not just in their colors but in their ability to endure and inspire.

Quasimodo: The Hero They Could Not Re-Write By: Richard Harrington Twitter: @TheLatestByte

Disney is a language we all can speak. All of us dwell in the shadow cast by the House of Mouse, that looming and imperial cultural entity. Every one of us, no matter our nationality, has been steeped in Disney. If your country had enough electricity to power a VHS in the 1990s, you’ve seen their work. Nearly every girl has dreamed of being a Disney princess- and why not? There is a Disney princess for every imaginable color or creed. Asian girls have Mulan, Native girls have Pocahontas, and red-haired Gaels have Merida. Disney Princes are a harder market to sell, but what boy didn’t want to be Hercules? Fewer polyester dresses and parties, perhaps, but lessons, nevertheless.

Disney Princes have something in common–at least, those not invented whole cloth or derived from children’s fables—Hercules and his father Zeus, John Smith of Pocahontas, etc. I was mildly outraged as a child when I read the true myths of Heracles and realized that the Disney version was very much a lie: Zeus was not a good-natured stand-in for the fathers of the children who watched the film. Heracles violently murders Megara and his children in a fit of insanity. I wondered what else had been concealed from us.

Perhaps the strongest deviation from reality is, interestingly, the subject of my thoughts here. Quasimodo- the half-formed bell ringer of Victor Hugo’s magnificent work- the eponymous Hunchback of Notre Dame. The novel and the film have little in common and tell very different stories. Hugo’s story could never - should never- be shown to children. We must cotton-wool the world to some degree, lest we corrupt. Yet in doing so, the diligent writers at Disney found themselves with an unsquareable circle: how can Quasimodo triumph?

You see, all Disney movies are comedies. Not merely because they are amusing, but because they typically end with romantic success, the hallmark of ancient Greek comedy. The classic happy ending of a story, as one professor told me, is rather like Rodney Dangerfield’s pronunciation at the end of Caddyshack; “Hey, everybody! We’re all gonna get laid!”

Indeed, heroes do get laid- within marriage, of course. John Smith wins the heart of Pocahontas, Hercules wins the heart of Megara, Aladdin with Jasmine. Beast regains his very humanity, and love follows. It is a very essential moral lesson to young boys: be a hero, be exceptional, struggle, and sacrifice. If you do, women shall love you. What could be a better motivation for young boys and men, other than the affection and approval of women?

I discussed this with a good friend, who objected to the entire trope. It is a vile thing, she said, for women to be reduced to a prize, something for the winning. This might very well be true, but a prize is, at the least, valuable. Many men dream of possessing intrinsic worth- it would make for an easier life- yet traditionally men acquire worth through the gaining of virtue, and women by the keeping of inherent virtue. The classics such as Cinderella are linked with those of later Disney such as ‘The Lion King’: women are presented as uncomplicated, virtuous beings, static in their character growth. They desire, and desire more- as seen in the obligatory ‘I Want More’ song, where the heroine pines for something better than the hum-drum. The love of a woman is the reward for beating the bad guy, for saving the day, and for slaying the dragon- with a big kiss at the film’s crescendo. That is the audience’s pay-off as much as it is the character’s. The man must struggle to improve himself, to become better- to become a hero. A woman begins as a heroine and must maintain that position. Exceptions exist (such as Mulan), but the chief trope maintains itself. It is Simba who must revolutionize himself: Nala possesses no flaws.

Such ideas are unpleasant for modern people, so we softened the edges of our moral lessons before ditching them. Nu-Disney is a confused morass of messages that may well amount to the oft-brayed ‘basic human decency’. It is an odd and Rousseau-esque moral assertion, but it’s the only morality we seem to have left.

This, of course, presents an issue. Quasimodo is, as one would expect, the hero of the film. He is the titular ‘Hunchback of Notre Dame’: a sweet-hearted, gentle, painfully shy man of ambiguously-young age. He lives in the bell tower of the great cathedral, and from its heights, he looks down upon Paris with sorrowful envy. He sits like a seagull on a rock, perched above the city of love, utterly alone save for the bells of the cathedral and the voices in his head- for no one else can see his gargoyle friends move, nor hear them speak. His only company, if one can call it that, is the sinister and domineering Judge Frollo, the villain of the piece.

Quasimodo is alone in the gulping void of his loneliness, carving and painting figurines of people he sees in the streets below, mimicking their voices and imagining one day, somehow, he could join them. His chief song, ‘Heaven’s Light’, is a gut-wrenching admission of his ugliness, his isolation, and the utter impossibility of achieving any true human connection.

For, unlike all other Disney ‘princes’: Quasimodo is ugly. Tremendously so. He is as Richard III- scarce half-formed, cheated of form by dissembling nature, an envious mountain heaped on his back. Unlike Beast, he has no magical transformation into a handsome man. He must ‘descant on his own deformity.’ He is a prisoner of his flesh and bone, as much as of the stone of Notre Dame itself. And he knows it. Worse, Esmeralda knows it. The children who watch the film know it, although they cannot speak it. The writers knew it and were brave enough to say it.

‘Hunchback’ is by far the bravest Disney film, and perhaps the most problematic for the orthodoxy of its day- though not ours. The 1990s were a time of good feelings, of civilizational euphoria. Race was invisible, and so was disability. A lie, of course, for disabled children were tormented as ferociously as ever, and race riots never stopped. Yet the story circulating through the culture was that of an ‘end of history’, of old sins forgotten.

Quasimodo sits alone in the pantheon of heroes. His genuine, awe-inspiring bravery, his rejection of the father figure who tried to drown him as an infant, his saving of his friends, and his physical courage, are not rewarded in the usual way. See, Quasimodo is ugly. He is deformed. Esmerelda could never love him. Who could? She may like him, or admire him- yet she, instead, chooses Phoebus as her partner- her enemy, the captain of Frollo’s guards, and the two kiss passionately as Quasimodo stares in bitterness and horror. He smashes his figurines and reiterates what he knew all along; that he ‘would never know that warm and loving glow’.

Yet, unlike the much-reviled sexual rejects of our modern day- the Incels- Quasimodo makes his peace with rejection. It is presented to his credit as an act of sublime nobility. He outright blesses their union and takes his role as a second-rate hero, a mere mascot of Paris. The Hunchback of Notre Dame.

Disney had the sheer guts to tell people what they already knew: a beautiful, vivacious woman will never love someone like Quasimodo, will never have children with him, and will sooner redeem her tribal enemy than unite herself to a failure. This utterly flies in the face of the story we are all told: that there is someone for everyone, that it is what’s inside that matters. Yet, perhaps, it doesn’t- and that is a truth, cruelly spoken today.

The film was produced in the very small valley of time where an ugly but otherwise heroic man dying alone was an unacceptable narrative choice. Before the 1990s, before the anti-bullying campaigns the politeness of offensives, and the great softening of society, it was seen as more normative and often more amusing to mock and torment the weak. The disabled, mentally or otherwise, were kept away from our eyes or put in freakshows, or consigned to a multitude of other grim fates. One could, for example, mock an epileptic as a ‘spastic’ with near impunity, or at the very least be seen as reasonable for deducing that the terribly disabled would die without marriage. We enjoyed a long series of movies- Forrest Gump not least of all- that extolled the virtues of the simple-minded but good-hearted man. No such film would be made today.

The 1990s were indeed a cruel time, as many of us can remember. The television shows have aged poorly in Zoomer's eyes. Yet it was a liminal time, and now we have once again come to accept the fate of the ugly and awkward. The Age of Nerds is over: 1984-2018. In our modern and cold age, the Incel has arisen as the acceptable vessel of derision. It is no wonder- they certainly do bring it on themselves- yet many of them are marred, either internally or externally. The initial flaw is usually some psychological disability or physical deficiency, and they internalize that flaw: it is the eternal cause of their exclusion from sports, from friendships, from the arms of beautiful women. They are mocked and excluded, and we accept it without question. Women must have their choice, after all. The narrative choice is once more acceptable.

Yet not at the time, and someone higher up at Disney must have noticed the bad-tasting message. In a cash grab only possible for Disney, they undid all their good work by inventing a sequel out of whole cloth, simply to conjure up someone to love Quasimodo. The film was a forgettable, hollow dud, rightly forgotten. It would do well to wonder why.

My friend disagreed with my assessment of Quasimodo as unworthy of love. Esmerelda had a choice, and he wasn’t it. His ‘worth’ had nothing to do with it.

I say, of course. Yet Quasimodo was no one’s choice. Not in the movie, nor the novel. Would you, dear reader, marry him?

Would anyone?

Then why do we keep lying?VARIOUS TYPES OF STORIES ARE HERE

best suiting and shirting in Bangalore

BEST SUITING AND SHIRTING FABRICS FOR MEN IN BANGALORE

Raymond Fabric

When it comes to the best suiting and shirting in Bangalore, Raymond stands out with its 97 years of legacy in the textile industry. As a global leader, Raymond produces the world's largest worsted suiting and shirting fabrics. The blending of polyester with fibers like Alpaca, Cashmere, and Angora gives Raymond fabrics a premium touch. Bangalore residents can find a wide selection of Raymond fabrics at the Royal Menswear store in HSR layout.

WHEN CAN WE WEAR RAYMOND IN BANGALORE?

Raymond’s fabrics are perfect for formal items like suits and dress shirts, making them ideal for occasions like weddings and graduations. The smooth feel, superb drape, and suitability for daily use make Raymond a top choice. The fabric's breathability also adapts well to Bangalore's diverse weather conditions.

Reid & Taylor Fabric

For the best suiting and shirting fabrics in Bangalore, Reid & Taylor is a prominent choice. Known for its unwavering commitment to quality and innovative designs, Reid & Taylor uses high-quality fibers like Giza, Pima, and Suvin for its shirting fabrics. The Royal Menswear store in HSR layout offers a variety of Reid & Taylor suiting and shirting fabrics for those looking to enhance their wardrobe in Bangalore.

Benefits of choosing Reid & Taylor Fabric for suits and shirts in Bangalore

Reid & Taylor suiting and shirting fabrics are versatile and suitable for various occasions in Bangalore. With hypoallergenic properties, they offer a comfortable feel for individuals with sensitive skin. The resistance to wrinkles and stains ensures a lasting and polished look for any event in Bangalore.

Park Avenue Fabric

Another excellent choice for suiting and shirting fabrics in Bangalore is Park Avenue, a brand owned by Raymond. For those already familiar with Raymond, Park Avenue fabrics offer a change with their high-quality cotton textiles. The long-staple cotton used in Park Avenue fabrics provides a soft and pleasant look, making them suitable for both warm and mild weather in Bangalore.

WHY DO PEOPLE LOVE PARK AVENUE FABRICS IN BANGALORE?

Park Avenue fabric is the best choice for formal attire like best suiting and shirting in Bangalore. With an affordable price range, Park Avenue fabrics offer elegance and style. Those in Bangalore seeking worthy materials for their wardrobe can find a variety of Park Avenue fabrics at Royal Menswear in HSR layout.

D&J Fabric

For a premium  best suiting and shirting  in Bangalore, D&J stands out with its expertise in Italian design and tailoring. The combination of different fabrics like 100% wool, 100% Supima cotton, and high twist T/R makes D&J fabrics versatile and appealing. The silky texture and superb draping capabilities make D&J fabrics a preferred choice for those who love customized dresses in Bangalore.

Benefits of choosing D&J Fabric for best suiting and shirting inBangalore

D&J fabric offers a comfortable and well-fitting style with its silky texture and superb draping capabilities. The breathability of the fabric makes it suitable for all weather conditions in Bangalore. The long-lasting stylish looks provided by D&J fabrics make them a preferred option for best suiting and shirting in Bangalore.

Italian Fabric

When it comes to extremely elegant choices for  best suiting and shirting in Bangalore, Italian Fabric is unparalleled. Crafted with finely woven natural materials like cotton, wool, and linen, Italian fabrics offer a unique look and feel. The distinctive weaving pattern and extraordinary softness on the skin make Italian fabrics a favorite among film stars and models.

WHY IS ITALIAN FABRIC CONSIDERED EXTREMELY ELEGANT IN BANGALORE?

Italian fabrics in Bangalore have a unique weaving pattern that sets them apart. The fabric's extraordinary softness on the skin makes it a premium choice for suiting and shirting in Bangalore. For those looking to add an elegant touch to their wardrobe in Bangalore, Italian fabrics are the way to go.

CONCLUSION

In conclusion, choosing the best suiting and shirting in Bangalore involves considering renowned brands like Raymond, Reid & Taylor, Park Avenue, D&J, and Italian Fabric. These fabrics offer versatility, comfort, and style for various occasions. Residents of Bangalore can explore the Royal Menswear store in HSR layout to find a wide range of these premium fabrics at affordable prices. The expert professionals at Royal Menswear also customize dresses based on individual needs and preferences, ensuring a well-decorated and stylish wardrobe for formal and casual wear in Bangalore.

Elevating Style: The Timeless Appeal of the Male Trench Coat

In the world of men's fashion, certain items stand the test of time, and the male trench coat is undoubtedly one of them. Originating from military roots, this iconic piece has seamlessly transitioned into a versatile and timeless wardrobe staple. In this article, we explore the enduring charm and multifaceted appeal of the male trench coat, from its historical significance to its contemporary style prominence.

1. A Brief History: From the Battlefield to the Runway: Take a journey through time, tracing the origins of the trench coat back to its military roots. Explore how this functional garment evolved from serving soldiers in the trenches during World War I to becoming a symbol of sophistication and style in modern fashion.

2. Design Elements: The Anatomy of a Classic Trench Coat: Delve into the distinctive features that define a classic male trench coat. Discuss the double-breasted front, epaulets, storm flap, belted waist, and cuff straps, detailing how each element contributes to the coat's practicality and timeless aesthetic.

3. Versatility in Style: Dressing Up and Down with Ease: Examine the versatility of the male trench coat in terms of style. From complementing formal business attire to effortlessly enhancing casual ensembles, highlight how this wardrobe essential seamlessly transitions between various occasions.

4. Fabric Choices: Beyond the Traditional Gabardine: Explore the evolution of fabrics used in crafting trench coats. While the traditional gabardine remains iconic, showcase how modern interpretations incorporate materials like cotton, wool, and water-resistant blends, catering to diverse climates and style preferences.

5. Styling Tips: Mastering the Art of Trench Coat Fashion: Offer practical styling tips for men looking to incorporate a trench coat into their wardrobe. Discuss pairing options with suits, jeans, or even athleisure wear, providing insights into accessorizing and achieving a polished look.

6. Seasonal Adaptability: Trench Coats for All Weather: Highlight the practicality of the trench coat as a year-round garment. Discuss its ability to serve as a light layer during spring and autumn or as a functional outerwear piece in colder weather when paired with appropriate layering.

7. Iconic Trench Coat Moments in Pop Culture: Celebrate the trench coat's presence in popular culture. From classic film characters like Humphrey Bogart's Rick Blaine to contemporary style icons, explore how the trench coat has left an indelible mark on the silver screen and the fashion world.

8. Modern Interpretations: Contemporary Designs and Trends: Examine how designers continue to reinvent the classic trench coat, introducing modern twists and innovative details. Showcase contemporary trends such as oversized silhouettes, unconventional colors, and experimental fabrics that breathe new life into this timeless garment.

9. Investment Piece: The Trench Coat as a Wardrobe Essential: Discuss the concept of the trench coat as an investment piece. Highlight its durability, timeless style, and the notion that a well-crafted trench coat can last for years, making it a wise and stylish addition to any man's wardrobe.

10. Sustainable Choices: Embracing Eco-Friendly Trench Coats: Explore the growing trend of sustainable fashion and how it applies to trench coats. Highlight brands and initiatives that prioritize eco-friendly materials, ethical production practices, and longevity, encouraging consumers to make mindful choices when investing in this classic piece.

In a world of ever-changing fashion trends, the male trench coat stands as a beacon of enduring style. Its rich history, timeless design, and adaptability make it a must-have garment that transcends seasons and fashion epochs, embodying the essence of enduring elegance in men's fashion.

How can men improve their looks?

The love of beauty is in every human being .It's not just girls who need to upgrade their looks. Guys should also learn a few tricks to prepare for it too. Here are some tips from Our Lash on how to improve men’s looks.

The temperament.

Temperament should be the most important part of man appearance level, the man had the temperament of confident atmosphere, and appearance level naturally rises greatly. This can only rely on improving their self-cultivation, read more, learn more, and go out to see the world to accumulate slowly. Science men can look at art exhibitions, drama, independent films and so on to increase the artistic temperament, liberal arts men also care about high-tech, bioengineering, and Schrodinger’s cat and so on, comprehensive knowledge is always good.

Personal hygiene.

Regardless of his natural physical condition, a man who is clean and tidy is always more comfortable. Conditionally take a bath and wash your hair every day, and at least keep your body clean without conditions, and your hair will not produce oil or dandruff. Keep your hair fresh and trim regularly. Beards can be shaved clean or trimmed to your liking with a good hand or electric razor. Use appropriate amount of cologne, light fragrance to make people feel good, pay attention to must be light not too strong. Don't grow long nails. Manicures and toenails should be cut and polished regularly. Use underarm deodorant for summer sweats. Change your underwear daily and throw away any hole ones.

3. Improve your taste in clothes.

Clothing products, like temperament, need to be groped and accumulated in the process of learning slowly. Decide your own style according to your age, occupation, personality, hobbies and so on. Within the scope of your ability to choose high quality clothing as far as possible, few but fine, bags, watches, shoes, wallets, belts, glasses, should try to buy the best, because they can best reflect the quality of men's clothing. The clothing style should be simple and generous, and the material should be natural material, such as cashmere, wool, cotton, leather, etc. The color should be black, blue, gray, white and earth color, avoid high saturation color. When building your wardrobe, you can classify according to the function of clothes, such as professional clothes, casual clothes, sports, outdoor clothes, think about all kinds of basic needs, slowly build up the basic wardrobe, on this basis and then expand out, add some more high-profile clothes of personality. It’s the same with shoes.

4. Do necessary exercise.

You don't need to have eight pack abs, but can't lack your boyfriend strength, if even can't hold your girlfriend a few steps is not very awkward? Proper exercise can lighten the mood and avoid greasy feelings. Height is hard to change, but the difference between men who exercise and those who don't is obvious. Get rid of your tummy, get your pecs and biceps out, and you'll improve your appearance a little bit.

5. Self-cultivation.

Don't talk dirty, don't put headphones outside, etc., read more books, learn more knowledge, instead of indulging in games all day.

6. In the face.

Why put the face last, because although the face is the most direct factor of appearance level, but also the most difficult to change, temperament, hygiene, clothing, figure can be greatly improved through efforts, and face features are difficult to change (unless plastic surgery). But the good news is that, as long as the man's face is not born too ugly, with the above points of good temperament, good hygiene, good clothes, good figure, want to ugly also ugly not where to go. Facial features cannot be very delicate, but at least clean, learn to reasonable skin care, and reduce acne, closed mouth and other phenomena, according to the quality of the skin to choose face washing milk and mild products.

With one exception, if you have a jagged, yellowish-black tooth, even though dentists are expensive these days, decide to save up for a full and whitened tooth. Teeth can have a huge impact on your appearance level.

If you need more questions, or need eyelash manufacturer , please contact with OurLash.

Digital Textile Printing Market - Forecast(2022 - 2027)

Digital Textile Printing market size is forecast to reach $7.1 billion by 2026, after growing at a CAGR of 15.8% during 2021-2026. With rising demand for printed cloths and banners & flag, the digital textile printing market is witnessing an increase in market growth. In addition, printing with direct disperse dyes increases the spread of the ink (dot gain) and can produce less color vibrancy. Dispersed dyes are specifically used for artificial fibers such as polyester, acetate rayon, poly Lycra, and acrylics. Whereas, digital print technologies utilize more durable inks and offer higher reliability, longer print life, and overall cost savings and efficiency this will further enhance the overall market demand for digital textile printing during the forecast period.

COVID Impact

The rapid spread of coronavirus has had a major impact on global markets as, major economies of the world were in lockdown mode. Because of this major lockdown, suddenly all the consumer market has started to show zero interest towards purchasing any apparel products and because of which the textile sector is suffering. One of the major difficulties the market is facing is that the post lockdown interest among the customers to visit textile shops due to danger of spreading of covid-19. So, this global crisis has slowed down the demand of goods’ production and exports of digital textile printing industry.

Digital Textile Printing Market Report Coverage

The report: “Digital Textile Printing Market – Forecast (2021-2026)”, by IndustryARC, covers an in-depth analysis of the following segments of the Digital Textile Printing Market.

By Printing Technique – Screen Printing (Flatbed Screen Printing and Rotary Screen Printing), Inkjet Printing, and Dye Sublimation. By Fabrics – Cotton, Viscose, Wool, Silk, Polyamide Iycra, Polyester, and Others. By Application – Clothing (Jeans, T-shirts, Innerwears, Others), Banner, Flags, Carpets, Curtain, Bed Covers, Soft Signage, and Others. By Geography – North America (U.S., Canada, and Mexico), Europe (U.K., Germany, Italy, France, Spain, Netherlands, Russia, Belgium, and Rest of Europe), Asia Pacific (China, Japan, India, South Korea, ANZ, Indonesia, Taiwan, Malaysia, and Rest of Asia Pacific), South America (Brazil, Argentina, Colombia, Chile, and Rest of South America) and RoW (Middle East and Africa).

Key Takeaways

Europe dominates the digital textile printing market owing to increasing demand from applications such as clothing, banners and others.

The growing popularity for printed cloths, banners & flag, is likely to aid in the market growth of digital textile printing.

Increasing adoption of digital textile due to higher reliability, longer print life, and overall cost savings and efficiency will increase the market     demand for digital textile printing in the near future.

Higher investment cost for setting up industry will create hurdles for the digital textile printing market.

Figure: Europe Digital Textile Printing Market Revenue, 2020-2026 (US$ Million/Billion)

For More Details on This Report - Request for Sample

Digital Textile Printing Market Segment Analysis - By Printing Technique

Inkjet printing is majorly used technique in digital textile printing market in the year 2020 and is expected to grow at a CAGR of 5% during the forecast period. Inkjet printing is a growing technology that enables to deliver small amount of materials as an ink to specific location of substrate. Its other applications include printing graphical patterns with different scales, printing electronic devices such as circuit boards, solar cells, PLEDs, and RFIDs with precise accuracy, and delivering accurate amount of drugs in pharmaceutical industry. There are some limitations in different aspects of inkjet printing for example, the printing speed, cost–benefit issues, health and environmental concerns, printed film uniformity and material, and fluids' jet-ability as ink—overcoming which would be the future prospect of this leading technology.

Digital Textile Printing Market Segment Analysis - By Fabrics

Polyester have significant growth in digital textile printing market in the year 2020 and is expected to grow at a CAGR of 15% during the forecast period. Polyester is a hygienic material because it absorbs less moisture than many other types of textile. When anything is printed on polyester, the quality of the fabric stays the same. In other words, it does not improve, nor reduce the quality. Unlike most natural fibers, polyester products are recyclable also. It is a hard-wearing material, tolerates sunlight and is less sensitive to high temperatures than many other synthetic fibers. Polyester fabrics only fade slowly but they are easy to maintain. Therefore, polyester is often the preferred choice for fabric in public spaces where wear and tear are unavoidable.

Digital Textile Printing Market Segment Analysis – By Application

Clothing sector has been the major market for digital textile printing in the year 2020 and is expected to grow at a CAGR of 16.1% during the forecast period. Digital printers can be used for printing on silk fabric, polyester, viscose and numerous other organic materials like cotton, wool and linen. Digital printing inks are most versatile, ensure a high-quality print and provide the best industry standard fastnesses. Digital textile printing is the latest innovation in the textile industry. It helps printers to meet demands for high-quality designs, short-runs and rapid-turnarounds. Mainly there are two types of machines such as single pass and multi pass are used. A single-pass digital textile printer has no moving carriage. The printheads are mounted over the full width of the fabric on a fixed print bar, one for each colour. In the scanning (multi-pass) digital textile printer the printheads are mounted to a carriage that moves from left to right and right to left over the width of the fabric.

Digital Textile Printing Market Segment Analysis – By Geography

Europe has dominated the digital textile printing market in the year 2020 and is expected to grow at a CAGR of 15.6% during the forecast period. Digital textile printers are increasingly being deployed in Europe to meet the need of faster turnaround times, shorter runs, and more variable data printing with high quality. According to CBI (CBI is an Agency of the Netherlands Ministry of Foreign Affairs and part of the development cooperation effort of the foreign relations of the Netherlands) Europe is a strong, continuously growing apparel market, home to some of the world’s biggest and most renowned apparel companies. Europe’s apparel import market was valued at $198.9 billion (€168.5 billion) in 2018, growing at an average rate of 5.8% a year. The biggest markets within the EU include Germany, France, the UK, Spain, the Netherlands and Italy, together comprising nearly 72% of all EU apparel imports.

Digital Textile Printing Market Drivers

Growing demand in APAC

Asia Pacific region is anticipated to witness considerable textile printing market growth in the future mainly due to the financial stability and government support in the region. Emerging countries such as India and China are expected to show significant growth in the textile printing globally in the near future. However, the rising domestic demand for textile printing in both the countries will be driving the digital textile printing market. According to the Indian Brand Equity Foundation (IBEF), during FY19, production of fibre in India stood at 1.44 million tonnes (MT) and reached 1.60 MT in FY20 (till January 2020). This shows the growing demand for textile industry in this region. Hence owing to this the digital textile printing market will drive.

High resolution, flexibility and fine patterns

Using of unlimited colour combinations, digital textile printing uses less space than the conventional rotary screen printing. Moreover, it uses less power and ink. It doesn’t require water for sublimation digital textile printing. All these factors keep the costs low. Therefore, digital textile printing gets done without having to shell out a lot of money. Also, with digital textile printing, the accuracy of color as well as print is clean and tidy. Considering the other forms of chemical waste from screen printing, digital textile printing offers a much more environment friendly process.

Digital Textile Printing Market Challenges

Higher investment cost

Digital textile printing machines require a higher investment than conventional printing machines. When comparing the total cost of ownership (water, energy, operators, service costs, ink, post-treatment of the fabric, etcetera) between conventional printing and digital printing, digital textile printing of one meter of fabric is around 1.5 times as expensive as conventional printing. Single-pass printing is a newer printing technique that enables faster printing at a higher quality. Therefore, it is more expensive than multi-pass printing because more print heads are needed to cover the whole width of the printer.

Digital Textile Printing Market Landscape

Technology launches, acquisitions and R&D activities are key strategies adopted by players in the digital textile printing market. Major players in the digital textile printing market are Ag Transact Technology, Am Printex, China Dyeing Holding Ltd, Dazian Llc, Dickson Coating, Digitex India Inc, Fisher Textile Inc, Glen Raven Inc, Jv Digital Printing, Mehler Technology, among others.

Acquisitions/Technology Launches

In December 2020, Sioen Industries has acquired by Dickson Coatings from Glen Raven Inc. Glen Raven, N.C. Sioen, a Belgium-based Euronext stock-quoted company, is a leading producer of PVC coated technical fabrics.

In December 2020, Glen Raven Custom Fabrics has purchased a new production facility in Valenciennes, France, an industrial hub city with easy access to transportation routes across Europe.

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