Search

Cleanup of oil spills has become one of the most challenging tasks in recent years, as marine oil spills have had a great negative impact on human health and the ecological environment. This also urgently requires the development of new materials and methods with superhydrophobic properties for oil-water separation. As new porous materials, metal-organic frameworks (MOFs) have attracted much attention due to their unique structures and fascinating properties. However, powdered MOF materials are difficult to recycle, and therefore, suitable substrates need to be selected to construct superhydrophobic composites. The surface hydroxyl groups of cellulose fibers offer great possibilities for their superhydrophobic preparation. In this paper, HDTMS-UiO-66@CFs composites with superhydrophobicity were strategically synthesized by in-situ growth of Zr(IV)-based MOFs linked to hexadecyltrimethoxysilane (HDTMS) on cellulosic fibers (cotton fabric) by using a hydrothermal synthesis method. The HDTMS-UiO-66@CFs composites have a water contact angle of 172[degrees] and the absorption capacity of light oil and heavy oil is more than 1100%, and the oilwater separation efficiency is as high as 96%. Due to the in-situ growth of the HDTMS-UiO-66 material on cotton fibers, which makes the material more resistant and stable, the material can still maintain its superhydrophobic properties in various harsh environments and after repeated use. Therefore, the newly developed HDTMS-UiO-66@CFs composites have a high potential as novel adsorbent materials for cleaning up offshore oil spills and other applications. Highlights * In-situ growth of superhydrophobic metal-organic frameworks (MOF) particles on cellulose fibers. * The porous structure of hexadecyltrimethoxysilane (HDTMS)-Ui066 plays a key role in hydrophobicity. * HDTMS-Ui066@CFs are chemically stable and have long-term durability. KEYWORDS cotton fabrics, hydrophobicity, oil-water separation, zirconium-based metal-organic framework, 1 | INTRODUCTION Marine oil pollution is immensely harmful. Its damage to biodiversity, aquatic ecosystems, coastal and marine ecosystems is serious and ongoing. (1) At the same time, oil pollution [...]

Abstract In the early twentieth century, traditional handicraft was challenged by the latest technology in China. It is reflected by ethnic costumes combining new and old, as in the waistcoat of this study. This waistcoat made at Gyalrong Tibetan area in Sichuan, China, displays unique local features in terms of its brilliant colors and comprehensive craftsmanship. This study employs techniques such as optical microscopy, infrared spectroscopy, scanning electron microscope and high performance liquid chromatography-mass spectrometry to investigate various aspects of this waistcoat, including its fabrics and dyes. The results showed that the waistcoat was primarily made of cotton and silk, with a bamboo paper layer, and that silk as well as twisted gold and silver threads were employed for the embroidery. Various embroidery techniques were applied, with patterns, color combinations, and characteristics being consistent with those of Tibetan and Shu (蜀) embroidery. In terms of dyeing technology, a wide range of colors were achieved through multi-step dyeing processes using natural dye stuffs like pagoda bud, and synthetic dyes like magenta. These findings indicates that modern technologies were well integrated into traditional garment manufacture in the early twentieth century in China.

Mesdan is the brand of the Vandewiele group of companies offering yarn joining solutions and textile testing equipment. At ITM 2024 Mesdan showcased thier well known two laboratory equipments, Nati [...]

Loptex proudly introduces the Sorter Easy Link EXA, a pioneering solution that promises to transform the cotton blow room line industry. This new system to detect and eliminate contaminants in [...]

DANTI PAOLO is a manufacturer of textile finishing machines, located in Montemurlo, near Florence. The machines are entirely manufactured in the Montemurlo plant, by expert labour and designed on the [...]

Comprehensive and high-level program takes shape As frequent visitors of the ITMF and IAF annual conferences have come to expect, industry experts will share the cutting edge of the developments [...]

In a significant stride towards revolutionizing sustainability in Pakistan's textile industry, Fibre52TM, a trailblazer recognized in the 2024 Fashion for Good Innovation Programme, proudly announces its partnership with iTextilesA(r). This [...]

ITM 2024, one of the most important meeting points of textile technology leaders, was concluded as a great success. ITM 2024, which was organised after the pause experienced all over [...]

When it comes to making a choice in home decor, the one thing to bear in mind is following an aesthetic fil-rouge - even one that is not eye-catching, but [...]

'Planet Conscious' approach to color from inspiration to execution Archroma, a global leader in specialty chemicals towards sustainable solutions, today introduced COLOR MANAGEMENT+, an enhanced color design and development solution [...]

The partnership between CHT and OceanSafe highlights a shared dedication to promoting sustainable practices in the textile industry. This collaboration is well-positioned to assist companies in meeting their sustainability objectives [...]

Heimtextil and Patricia Urquiola, together, provided a glimpse into the highly anticipated design installation to be realized at Heimtextil 2025, reinforcing the special collaboration with the celebrated Spanish architect and [...]

As thousands of horticultural industry representatives gather in Amsterdam for this year's GreenTech Event, Beaulieu Technical Textiles is presenting its re-designed range of weed control ground covers, setting a new [...]

The textile industry has been critical to the economies of the major South Asian countries - Bangladesh, India, Pakistan and Sri Lanka - directly or indirectly employing some 75 million [...]

1 The Bangladesh Textile Mill Association (BTMA) has issued a stark warning about the dire state of Bangladesh's core textile industry, calling on the government to act urgently to prevent [...]

Copyright of China Fiber Inspection is the property of China Fiber Inspection and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In the early twentieth century, traditional handicraft was challenged by the latest technology in China. It is reflected by ethnic costumes combining new and old, as in the waistcoat of this study. This waistcoat made at Gyalrong Tibetan area in Sichuan, China, displays unique local features in terms of its brilliant colors and comprehensive craftsmanship. This study employs techniques such as optical microscopy, infrared spectroscopy, scanning electron microscope and high performance liquid chromatography-mass spectrometry to investigate various aspects of this waistcoat, including its fabrics and dyes. The results showed that the waistcoat was primarily made of cotton and silk, with a bamboo paper layer, and that silk as well as twisted gold and silver threads were employed for the embroidery. Various embroidery techniques were applied, with patterns, color combinations, and characteristics being consistent with those of Tibetan and Shu (蜀) embroidery. In terms of dyeing technology, a wide range of colors were achieved through multi-step dyeing processes using natural dye stuffs like pagoda bud, and synthetic dyes like magenta. These findings indicates that modern technologies were well integrated into traditional garment manufacture in the early twentieth century in China. [ABSTRACT FROM AUTHOR]

Victorian 'hidden mother' photographs are portraits of babies in which adult figures are draped with textiles, blocked with furniture, tucked behind a mat, or otherwise (often ineffectively) obscured. Fascination with them habitually turns on their presumed erasure of nineteenth-century women's labor; however, modern assumptions about the production of these photos have shaped consumption of them. This essay locates these images within multiple contexts: the technologies of their production, growing sentimental ideals of middle-class motherhood, and the ways that carework and its cultural (in)visibilities varied widely by gender, race, and class in the period. Arguing that the mother figures' persistent presence (not hiddenness) is fundamental to these photographs, this essay makes a case for reading them as revealing intimacies and documenting tenderness rather than evincing erasures., Take a moment, if you will, with this Victorian portrait of an infant, caught in a candid moment of softness (fig. 1). The baby's placid repose offers a surprising contrast [...]

White marble sculpture is a cornerstone of Western art history. Archaeological inquiry, however, has demonstrated that Classical sculpture and its associated architecture were once coloured. The authors examine the Parthenon Sculptures at the British Museum to identify traces of colour and carving on their surfaces. Using close examination and archaeometric techniques, the study shows that the sculptors finished surfaces with textures that reflected specific elements (e.g. skin, wool, linen) and these were then enhanced through the application of colour, including a purple colourant and Egyptian blue. The latter was used extensively to paint elaborate figurative designs on the carved textiles. Despite the complexity of the carved drapery, elaborate ornament was applied to the finish. The findings encourage a reconsideration of the appearance of the Parthenon in the fifth century BC. Keywords: Classical Athens, Parthenon, visible-induced luminescence, XRF, carving, sculpture, colour, Introduction In Ancient Greece, marble sculpture, like architecture, was painted. Although studies of ancient polychromy began at least a couple of centuries ago, the exact appearance of ancient sculpture and [...]