HISTORY OF TEXTILES

AND THE ATCFAI

THE TEXTILES INDUSTRY IN THE 19TH CENTURY
The early processes of textile manufacturers were created by hand, using very basic
equipment. The first sewing needles were made of bones or animal horns and the first read
were made from animal sinew. The first eye needle was invented in the 14th century. The
eye of the Needle appeared in the 15th century.

The textile technology itself did not actually begin to develop until the invention of the
spinning machine and mechanical loom in the 18th century
What? When Who? Importance
?
FLYING SHUFFLE: 1733 John Kay Which revolutionised the woollen and cotton industries by
increasing the output considerably. This led to an increase
in need of yarn products.

SPINNING JENNY: 1764 James The spinning Jenny allowed 16 or more yarns to be spun
Hargreaves simultaneously by one person.

SPINNING FRAME: 1769 Richard Powered by a water wheel. It was known as the water
Arkwright frame. This machine was the first powered/automatic
textile machine. This spinning frame produced a stronger
Jan than did previous spinning equipment the water will
change the textile industry from a cottage industry to a
factory industry.
WEAVING LOOM: 1787 Edmund Improve the commercial success of weaving because
Cartwright Cartwrights loom had greater productivity then a manually
operating one. The loom produced only pile waves. It
incorporated new features including a let off motion,
warps and weft stop Motion and the ability to size the
rape whilst the loom was working.
 1792, he also invented the first manually operated will
come binding machine.
THE COTTON GIN: 1794 Eli The cotton gin machine consisted of a drum with fine,
Whitney hooked shape wires projecting from it. These hooks held
the seeds back while the cotton Lindt was pulled away the
cotton gin could do the daily work of several men in an
hour.

What? Whe Who? Importance

 n?
He believed the land around Sydney could produce high
quality wool, so he imported Spain merinos and began
beating to improve the quality of the flies
SYDNEY PRODUCE John
1796  By 1825, England was allowing wool from Australia to
HIGH QUALITY WOOL Macarthur
be imported free duty. This made Australian wool
desirable, as it had a price average over other
countries. The Australian wool industry flourished
the first loom to be produced tapestry fabric. The
mechanism in the jacquard loom was controlled by
Joseph patterns of holes in a string of cards. His invention was
JACQUARD LOOM: 1806 flourishing opposite by the silk waves, who feared that
Jacquard
they would be deprived of their livelihood due to the
labour of saving loom
John The system was continuous spinning is still used in the
RING SPINNING: 1828
Thorpe cotton industry to date
FIRST SEWING ----
1846 ---
MACHINE
He built the first sewing machine where the needle moved
up and down rather than side to side and the needle was
IMPROVED ABOVE Isaac M powered by foot treadles. The development of practical
1851
VISION: Single sewing machines contributed to the growth of the ready-
made clothes industry in the late 19th century in the 20th
century
Until then all dies came from natural source such as
William
SYNTHETIC DYES: 1856 plants. Natural dye tended to be like in hue and fade
Perkin
quickly.
The machine was powered using a steam engine. For the
FIRST FLAT-BED, WEFT William
1864 first time, large-scale factory production a fully fashioned
KNITTING MACHINE Cotton
garment was possible in the textile industry.
He inventoried Chardonnet silk by starting with mulberry
Hillarie leaves, which he turned into cellulose pulp with nitric and
SYNTHETIC FIBRES 1884
Berniguard sulphuric acid and stretched into fibres.
 By 1889 he developed rayon

DURING THE 19TH CENTURY, TEXTILE EQUIPMENT WAS THE MAIN

AREA OF INNOVATION FOR THE TEXTILE INDUSTRY.

THE TEXTILES INDUSTRY IN THE 20TH CENTURY

During the 20th century, new textile materials and processes were the main area of
innovation for the textile industries. By the end of the century, textile manufacturers could
design and develop fibres, yarns, fabrics in fabric finishes for specific and uses

.
What? When Who? Importance
?
Enabled the manufacturer of cuprammonium filament
finer than silk.
PATENTED THE
Edmund  The improved Bemberg Silk went into production in
STRETCH SPINNING 1901
Thiele 1908
OF FILAMENT
Its early commercial success was mainly due to the
flammable disadvantage of the Chardonnet processes.
The outbreak of World War I postponed the
development of acetate continuous filament until 1921,
when the first commercial cellulose acetate yarn was
Camille
ACETATE 1904 sold by crocheting, braids, novelty threads and for
Dreyfus
linings. Fabric, due to the thermoplastic nature could be
permanently pleaded, making it more popular for the
clothing industry
Was developed to make cotton fabric wrinkle resistant.
This was the first fabric finish and the beginning of wash
RESIN FABRIC
1928 --- and wear clothing.
FINISH PROCESS
 1930, Sanforising another fabric finished. This finish
was used to pre-shrink cotton fabric.
His research team developed nylon for the DuPont
company.
Rayon and acetate Had been derived from plant
Wallace
NYLON 1938 cellulose. But nylon was synthetic completely from
Carothers
petrochemical. It was the beginning of the development
of synthetic fibres.

The first experimental testing use nylon as sewing thread

in parachute Fabric and in women’s hosiery.
COMMERCIAL  The United States entered World War II in December
DuPont
PRODUCTION OF 1940 1941, the war Production Board I located all
company
NYLON production of nylon to be devoted to military use.
After the war, no one was used for hosiery, carpet,
and car upholstery.
TWIST-DEWIST Acetate Fibres were spun into a springy spiral. The new
METHOD OF YARN 1931 --- yawn no longer processed the gloss and smoothness of
MANUFACTURE synthetic silk, but was soft and warm as well.
It was first used for outdoor and uses but today is used
mainly for apparel or carpet.
COMMERICAL
 Shuttleless weaving looms were also developed. This
MANUFACTURE OF 1950 ---
type of loom was used a flying projectile to insert the
ACRYLIC
weft. This invention significantly increases the
production rate of woven fabrics.
Polyester Fibres 1953 DuPont Polyester manufactured from chemical substance found
company mainly in petroleum and is manufactured in fibres, film
 and plastics.1956 commercial manufacturing of the first
man made synthetic elastomeric fibre
They were used for the manufacturer of short fibre
OPEN-END
yarns, especially for cotton. The spinning machines
SPINNING 1965 ---
increased productivity and achieved the aim of reducing
MACHINES
manufacturer cost.
INCREASE IN One of the demands was for flammability standards for
Manufactur
CONSUMER children’s sleepwear.
1970 e fibre
PROTECTION
industry
DEMANDS
Micro fibres are a modification of polyester that process
is extremely find filaments while maintaining all of the
MICROFIBRES 1968 ---
strength, uniformity and processing characterise except
the textile manufacturer and consumers.
It is an environmentally friendly fibre that is created from
TENCEL –
wool pulp e of trees. It is processed using a solvent
TRADEMARK FOR 1993 America
spinning technique in which the dissolving agent is
LYOCELL
recycled, reducing environment in effluents

THE TEXTILES INDUSTRY IN THE 21TH CENTURY

The manufacturer has change significantly. The manufacture of 1 kg of yarn would have
taken 110 hours by hand spinning-wheels, 60 hours by the manually operating spinning
Jenny, 9 hours for the later, mechanised visions of the jenny (in about 1820) compared to
about 36 minutes on the modern spinning machine. Similarly, 100 meters of cloth would
have taken 500 hours by hand loom for 100 hours by Fly-Suttle, compared to less than one
hour on the latest woven machine.

THE AUSTRALIAN TEXTILES, CLOTHING,

FOOTWEAR, AND ALLIED INDUSTRIES
Sectors
The range of activities within the ATCFAI
are grouped into sectors, which define
the related production techniques or
products and very Allied manufacturing
activities and services.
 In recent years, ATCFAI have
increased its emphasis on high
value, capital-intensive and niche
products, and decrease its emphasis
on labour-intensive, standardised
products. This new focus has led to an increase in non-manufacture employment in the
broad industry, particularly in the design, marketing, wholesale, and logistics area.

Issues affecting the industry

Environmentally sustainability
Environmentally sustainability is the ability to maintain the qualities that are valued in the
physical environment. For example, the Cappelletti that the natural environment has to
maintain the living condition of people and other species.
The greatest environment impact made by the textile industry is pollution (in particular
water pollution).
 Australian cotton industry has made significant inroads in invent environmental
sustainability over the last decade with the adaption of best management practices
(BMP), integrated pest management and biotechnology.
- The BMP program aims to achieve true sustainability though improving
farming efficiency and productivity along with protecting the environment
and the natural resources.

Technological changes
Improve technology has increased to speed, diversity and efficiency with which yarns,
fabrics, dyeing, finishing, textiles, footwear are produced. New technologies have allowed
various productions stages to become one continuous process resulting in higher quality
and flexibility and faster response to changing market conditions
Computer-Aided Design (CAD) and Computer-Aided Manufacturer (CAM)
Has also resulted in cutting labour costs, saving time end reducing materials.
- Technology changes in the textile industry have led to changes in
employment. The proportion of operations operators are unskilled labourers
have decreased while number of technical and manufacture meant
management staff have increased. The new technologies require specialise
skills in textile industries engineering, design, computer science,
maintenance, and marketing.
QUALITY OF TEXTILES
WHAT IS TEXTILE QUALITY?
Quality of textiles commonly refers to the total set of perform a characteristic relating to the
textile’s component, items, or product. Overall total product quality is essential for a textile to
remain competitive and successful in the global marketplace.

Everybody has their own interception of the of what determines good quality. To maintain
consistent and integrity yet in terms of quality, various standards are developed to the
ATCFAI.

ASSESSING QUALITY

Design
Design is an integral part of quality. A good design will be aesthetically pleasing and
functional appropriate to the specific and use requirement.

Trademarks
A trademark is a mark that is used for the identification of a good or
service. It is required by legislation that a business registers the mark
with a local trademark office before it is gained protection under the
trade market law.

Fabric quality
Fabric quality is of high importance in determining the overall quality of the textile product.
The fabric quality is important to the manufacturer designer retailer and customer consumers,
as it embodies the aesthetic, function and specific and use. The quality of the fabric should be
free from defection and uniform in appearance and structure. Quality determines the price
point for the product and can influence the total product cost consumers satisfaction and
aesthetic properties of a textile component, item or product

Care labelling
Labels are used by businesses to cover important information about most goods such as food,
clothing and packaged items.

The ATCFAI compliance with the product information standard is mandatory. The industry
must ensure that its products comply with the care labelling requirements
 All products should include a label that provides instructions on how to care for the
product. Such as allowing the customers:
- to be aware of the method and cost of caring for goods in the product,
- the best method of cleaning the product,
- to increase the useful life of the product,
- to prevent damage for the improper car
- size, where it was made & fibre

The care label system is intended to supply customers and

textile companies with correct information about the care
treatment of textile products, so that the processes contained
on the label will avoid any damage to the product.
Quality assurance checks
Quality assurance checks applies to the manufacturing process of
as a whole. Quality insurance maintains the standards for the
beginning of the production processes and ensures the product
will be sustainable for and use applications. It ensures that a
textile item is provided to a specific level of prayer quality in a
manner that is safe, cost effective and efficient. Quality
assurance systems are designed to improve the quality and
performance of the total manufacturing process. An example of
this could be reducing waste through care management of
consumable resources within production lines.

Quality Control measures

Quality control is the inspection and check of product and process. Quality control measures
are used to access the quality of the product of various stages of the manufacturing process.
These inspections are used to elevate the product as it involves. Quality control measures
ensure that each stage of development, manufacture, sale, marketing, process or servic have
been elevated to ensure it meets predetermined specification before it is passed for the next
stage
VALUE OF TEXTILES
WHAT IS TEXTILE VALUE?
Determining value in ACTFAI is subject to personal interpretation and perceived value but
can also be measured objectively and express as a money or significant resource value. To
understand the order in order to understand the value of certain items, it is helpful to
consider the historical, cultural, contemporary and tech no logical perspectives. The specific
and use requirement must be considered.

FACTORS CONTRIBUTING TO TEXTILE VALUE

Perceived value
Perceived value is the value that a buyer subjectively attaches to a textile item. This type of
value depends on how the consumer or owner of the textile product feels about the item, it is
personal taste or desire that drives the elevation of worth of the particular textile items.
 Perceived value can also be defined by fashion, fad or fantasy and its value can change
over time. The perceived value or worth of a textile item can often depend on its
category:
- Heirloom
- vintage
- handcrafted
- unique
- designer label
- technology advances

Heirloom
An heirloom textile product usually refers to an object passed down through generations of
the family, often of worth only due sentimental value.
 Heirlooms can be deliberately designed to be worn by several people in the same family,
such as a wedding dress.

Vintage
Vintage textiles refer to items that were in fashion several decades earlier than present day.
 While the main interest of vintage clothing centres around the idea of the authentic
vintage item, there is a growing interest in newly designed items made to look ‘vintage’
or brand-new items to look like vintage style such as T-shirts and shirts

Handcrafted
Handcraft tactile items are considered of great value because they are usually not mass
produced. This market has traditionally more unique and therefore special to the owner.

Unique
Items that are distinctive, quirky, or unusual are unusually high value, specially by collectors.

Designer label
Designers have had a high association with customers and the perceived value of textile
items. Wearing a label has high prestige in society. Designer labels are popular in
contemporary took styles and collectors often search for labels from specific designers to
compliment or add to their personal collection.

Technology-advances
Innovation is key to a successful marketing practice. Innovation can apply to all aspects of
textiles, including yarn, fabric, fibre, manufacturer, production, and end-use applications.
Educating customers of a product capabilities and discriminate relation if is from other
alternatives is vital to success in the marketplace or add value to the product.
 Textile material and products manufactured primary for their technical performance and
functional properties rather than their aesthetic and decorative characteristics are
considered technical textiles

Cultural value
Refers to a system of shared beliefs, value, customs, behaviours, and artefacts that are unique
and are transmitted from generation to generation. The cultural value of a textile item is
determined by how it relates to the historic, social, and contemporary perspective of a
particular group of people.

Religious
Textile mediums are often used to create symbolism, clothes, costumes, accessories, or
dresses that reflects the moral code, practices and instinctual is association with such belief
system. Cultural, religion and textile often share a significant bond.

Social significance
Social significance refers to how we view textiles and textile products in relation to the
changing values and attitudes in society. It also reflects the changing values of attitude of
different people within a society at any given time. Social significance can be related to
religion, cultural, political, economy, historical and technology perspectives, and the context
in which the item will be worn or use.

Economic value
The economic value of textile relates to all the costs involved in producing these products,
and how they relate to the overall economy. The Australian Bureau (ABS) of statistics report
on the economy value, rates of employment, total value of goods and the costs involved in a
value added tax stars.

Gross national products

Gross domestic product (GDP) is a measure of the total value of goods and services produced
in the country in a single year. Gross national products (GNP) is the GDP plus the income
accrued to Australian residents from investment Broads less the income earns the Australian
owes the overseas residence.

Employment
The end of 2005, The ACTFAI employed approximately 52000 people. This reflects 3% of
the total employment in the manufacturing