Manufacturer & Exporters Of Superb Quality

We believe that only by providing the Customers with the Services and Products specified at the requested time, and in the stated manner, then only we can claim to be a Quality Conscious Company, and expect the Customer's continued patronage. Therefore we as a company must at all times ensure that we all participate in producing our products in accordance with the customer's requirements.

Our technically advanced quality control department plays a vital role in maintaining the reputation of the Shahi terry towel product in the international market. Equipped with the latest technology and highly trained and competent quality control officials, our guidelines help secure a prominent position for our clients and customers in the export market.

Armed with strict quality control procedures, the Shahi management places strong emphasis on the need for constant improvement in the standard of the terry towel product. Every stage of our production line is subjected to intensive quality control measures in accordance with international standards. So that you are assured an end product that has:

*	Increased absorbency
*	Color fastness

Comprehensive procedures and a thorough understanding of the latest techniques in quality management has made our department one of the most advanced and reliable in the industry.

Quality Standards
All the procured yarn for our weaving is 100% tested at our laboratory as per the international yarn testing standards. All the weaved /grey fabric is subjected to 100% inspection in accordance with our in house established quality inspection standards which are part of our Quality Management System (ISO 9002)

During our stitching & packing we follow the following standards

• AQL (Acceptable Quality Level) - In Line Inspecting
• AQL (Acceptable Quality Level) - Final Inspection

Besides we also comply with customers supplied specifications.

Safety, Health and Environment

For Shahi Textiles , Safety, Health and Environment in general and in particular to the consumer are of paramount importance. The company does not use any dyes and chemicals, which can cause any harm to human skin or health . The dyes and chemicals used in the company is environment friendly and avoid any pollution, besides company is constantly investing and working for an ever-cleaner production.

In all cases, you can be sure that every item we produce is made to our strict standards of quality.

STITCHING

The stitching section is located on two floors , including hem stitching and over lock stitching , State of art machines are used to perform the stitching function resulting in well stitched perfectly design ed towel and other textile products

BLEACHING & DYEING

After weaving the towel fabric is taken to the bleaching section so it can bleached to the standard required by the customer .

The Dyeing process involves a series of steps to ensure color matching and a color fast process , including washing , dyeing and drying .

METALLIC CARD CLOTHING

As Carding machine design improved in 1950's and 60's, it became apparent that card clothing was a limiting factor






Much time and effort was spent in the development of metallic card clothing.
There are two rules of carding

The fibre must enter the carding machine, be efficiently carded and taken from it in as little time as possible
The fibre must be under control from entry to exit
Control of fibres in a carding machine is the responsibilitgy of the card clothing
Following are the five types of clothings used in a Carding machine

Cylinder wire
Doffer wire
Flat tops
Licker-in wire
Stationary flats

CYLINDER WIRE: The main parameters of CYLINDER Card clothing
Tooth depth
Carding angle
Rib width
Wire height
Tooth pitch
Tooth point dimensions

Quipucamayocs

Quipucamayocs (Quechua khipu kamayuq, "khipu-authority"), the accountants of Tawantinsuyu, created and deciphered the quipu knots. Quipucamayocs were capable of performing simple mathematics, basic arithmetic operations such as adding, subtracting, multiplying, and dividing information for the indigenous people. This included keeping track of mita, a form of taxation. The Quipucamayocs also tracked the type of labor being performed, maintained a record of economic output, and ran a census that counted everyone from infants to "old blind men over 80". The system was also used to keep track of the calendar. According to Guaman Poma Quipucamayocs could "read" the Quipu with their eyes closed.

Quipu

Quipu or khipu (sometimes called talking knots) were recording devices used in the Inca Empire and its predecessor societies in the Andean region. A quipu usually consisted of colored spun and plied thread or strings from llama or alpaca hair. It also consisted of cotton cords with numeric and other values encoded by knots in a base ten positional system. Quipus may have just a few or up to 2,000 cords.

Quipu is the Spanish spelling and the most common spelling in English. Khipu (pronounced [ˈkʰipu]) is the word for "knot" in Cusco Quechua (the native Inca language); the kh is an aspirated k. In most Quechua varieties, the term is kipu.

Textile printing

Textile printing is the process of applying colour to fabric in definite patterns or designs. In properly printed fabrics the colour is bonded with the fiber, so as to resist washing and friction. Textile printing is related to dyeing but, whereas in dyeing proper the whole fabric is uniformly covered with one colour, in printing one or more colours are applied to it in certain parts only, and in sharply defined patterns.

In printing, wooden blocks, stencils, engraved plates, rollers, or silkscreens are used to place colours on the fabric. Colourants used in printing contain dyes thickened to prevent the colour from spreading by capillary attraction beyond the limits of the pattern or design.

Traditional textile printing techniques may be broadly categorised into four styles:

• Direct printing, in which colourants containing dyes, thickeners, and the mordants or substances necessary for fixing the colour on the cloth are printed in the desired pattern.
• The printing of a mordant in the desired pattern prior to dyeing cloth; the color adheres only where the mordant was printed.
• Resist dyeing, in which a wax or other substance is printed onto fabric which is subsequently dyed. The waxed areas do not accept the dye, leaving uncoloured patterns against a coloured ground.
• Discharge printing, in which a bleaching agent is printed onto previously dyed fabrics to remove some or all of the colour.

Resist and discharge techniques were particularly fashionable in the 19th century, as were combination techniques in which indigo resist was used to create blue backgrounds prior to block-printing of other colours.^[1] Most modern industrialised printing uses direct printing techniques.

Weaving_ Power loom

At this point, the thread is woven. Depending on the era, one person could manage anywhere from 3 to 100 machines. In the mid nineteenth century, four was the standard number. A skilled weaver in 1925 would run 6 Lancashire Looms. As time progressed new mechanisms were added that stopped the loom any time something went wrong. The mechanisms checked for such things as a broken warp thread, broken weft thread, the shuttle going straight across, and if the shuttle was empty. Forty of these Northrop Looms or automatic looms could be operated by one skilled worker.^[22]

A Draper loom in textile museum,Lowell, Massachusetts

The three primary movements of a loom are shedding, picking, and beating-up.

• Shedding: The operation of dividing the warp into two lines, so that the shuttle can pass between these lines. There are two general kinds of sheds-"open" and "closed." Open Shed-The warp threads are moved when the pattern requires it-from one line to the other. Closed Shed-The warp threads are all placed level in one line after each pick.
• Picking:The operation of projecting the shuttle from side to side of the loom through the division in the warp threads. This is done by the overpick or underpick motions. The overpick is suitable for quick-running looms, whereas the underpick is best for heavy or slow looms.
• Beating-up: The third primary movement of the loom when making cloth, and is the action of the reed as it drives each pick of weft to the fell of the cloth. ^[23]

The Lancashire Loom was the first semi-automatic loom. Jacquard Looms and Dobby Looms are looms that have sophisticated methods of shedding. They may be separate looms, or mechanisms added to a plain loom. A Northrop Loom was fully automatic and was mass produced between 1909 and the mid 1960s. Modern looms run faster and do not use a shuttle: there are air jet looms, water jet looms and rapier looms.

Weaving-Fabric manufacture

The weaving process uses a loom. The lengthway threads are known as the warp, and the cross way threads are known as the weft. The warp which must be strong needs to be presented to loom on a warp beam. The weft, passes across the loom in a shuttle, that carries the yarn on a pirn. These pirns are automatically changed by the loom. Thus, the yarn needs to be wrapped onto a beam, and onto pirns before weaving can commence. ^[21]

• Winding

After being spun and plied, the cotton thread is taken to a warping room where the winding machine takes the required length of yarn and winds it onto warpers bobbins

• Warping or beaming

A Warper

Racks of bobbins are set up to hold the thread while it is rolled onto the warp bar of a loom. Because the thread is fine, often three of these would be combined to get the desired thread count.[citation needed].

• Sizing

Slasher sizing machine needed for strengthening the warp by adding starch.

• Drawing in, Looming

The process of drawing each end of the warp separately through the dents of the reed and the eyes of the healds, in the order indicated by the draft.

• Pirning (Processing the weft)

Pirn winding frame was used to transfer the weft from cheeses of yarn onto the pirns that would fit into the shuttle

rawing the fibres are straightened

Several slivers are combined. Each sliver will have thin and thick spots, and by combining several slivers together a more consistent size can be reached. Since combining several slivers produces a very thick rope of cotton fibres, directly after being combined the slivers are separated into rovings. These rovings are then what are used in the spinning process. Generally speaking, for machine processing a roving is about the width of a pencil.Next, several slivers are combined. Each sliver will have thin and thick spots, and by combining several slivers together a more consistent size can be reached. Since combining several slivers produces a very thick rope of cotton fibres, directly after being combined the slivers are separated into rovings. These rovings (or slubbings) are then what are used in the spinning process. ^[11]

Generally speaking, for machine processing, a roving is about the width of a pencil.

• Drawing frame: Draws the strand out
• Slubbing Frame: adds twist, and winds on to bobbins
• Intermediate Frames: are used to repeat the slubbing process to produce a finer yarn.
• Roving frames: reduces to a finer thread, gives more twist, makes more regular and even in thickness, and winds on to a smaller tube

Carding

Carding: the fibres are separated and then assembled into a loose strand (sliver or tow) at the conclusion of this stage.

The cotton comes off of the picking machine in laps, and is then taken to carding machines. The carders line up the fibres nicely to make them easier to spin. The carding machine consists mainly of one big roller with smaller ones surrounding it. All of the rollers are covered in small teeth, and as the cotton progresses further on the teeth get finer (i.e. closer together). The cotton leaves the carding machine in the form of a sliver; a large rope of fibres.^[9]

Note: In a wider sense Carding can refer to these four processes: Willowing- loosening the fibres; Lapping- removing the dust to create a flat sheet or lap of cotton; Carding- combing the tangled lap into a thick rope of 1/2 in in diameter, a sliver; and Drawing- where a drawing frame combines 4 slivers into one- repeated for increased quality.

Preparatory Processes- Preparation of yarn

• Ginning, bale-making and transportation is done in the country of origin.
• Opening and cleaning

Platt Bros. Picker

Cotton mills get the cotton shipped to them in large, 500 pound bales. When the cotton comes out of a bale, it is all packed together and still contains vegetable matter. The bale is broken open using a machine with large spikes. It is called an Opener.In order to fluff up the cotton and remove the vegetable matter, the cotton is sent through a picker, or similar machines. A picker looks similar to the carding machine and the cotton gin, but is slightly different. The cotton is fed into the machine and gets beaten with a beater bar, to loosen it up. It is fed through various rollers, which serve to remove the vegetable matter. The cotton, aided by fans, then collects on a screen and gets fed through more rollers till it emerges as a continuous soft fleecy sheet, known as a lap.

Climate

Heat and humidity can both contribute and a textile’s deterioration. However, excessive dryness may also cause damage, especially to elastic fibers, such as wool, which rely on some amount of moisture to maintain their flexibility (Putnam and Finch). Additionally, temperature and humidity should be kept as constant as possible; changes in either of these may cause the textile fibers to expand and contract, which, over time, can also cause damage and deterioration to the textile. For this reason, both storage and display areas should be fitted with monitoring equipment to gauge the temperature and humidity of rooms, display cases, enclosed storage facilities, and work areas.

Ideally, temperature should be kept around 70 degrees Fahrenheit ^[6], though some slight fluctuation in either direction is permissible, as long as it occurs gradually ^[7]. For instance, temperature may be slightly lower in winter to save energy costs, but the change should be affected slowly, so as not to place the fibers under undue stress.

As for humidity, the preservationist or conservator should aim for a relative humidity of 50%, though, as with temperature, some small fluctuation is allowable, as long as it occurs gradually (Mailand). In enclosed display or storage cases, humidity can be somewhat maintained through the use of silica gel crystals. These crystals should not be placed in contact with the textiles, but may be placed in breathable muslin bags and hung inside the case to maintain a constant humidity ^[7]; they should be monitored periodically, however, to be sure that they are working.

In areas where climate control is unavailable (such as in historic buildings), the conservator can still moderate the temperature and relative humidity through use of fans, humidifiers and dehumidifiers, and portable heating or cooling units ^[8].

In addition to temperature and humidity, air flow is also a concern for textile preservation. Textiles should never be sealed in plastic or other air-tight casing unless it is part of a treatment or cleaning process. Proper circulation, combined with the suggested humidity, will help to prevent the growth of mold and mildew, which may stain or weaken antique textiles ^[9]

Environment

Light can have a variety of effects on textiles over time. In some cases, it may contribute to fading or discoloration, but of more concern is the damage which the fibers may suffer under prolonged exposure to non-visible light, such as ultraviolet and infrared lighting. Ideally, textiles should be stored or displayed in as little light as possible, and preferably in total darkness ^[1]. However, as this is impractical for display and care of the piece, knowing the limits of lighting as well as the safest amounts of lighting, become important.

Natural light is the most common source of ultraviolet light, and as such, care should be taken to avoid exposure to direct sunlight at all costs, and indirect sunlight whenever possible. This may mean storing or displaying textiles in an area without windows, or with blackout curtains, which can be pulled whenever the room is not in use. If a room relies on natural light, UV screens or coatings can be applied to the windows to block harmful rays while still allowing light to pass through. These filters should be checked periodically, however, as they have a limited lifespan and may need to be replaced every few years ^[2].

Fluorescent and halogen-produced light can also produce large amounts of UV radiation, though filters which fit over the bulbs are available to limit the damaging light ^[3]. These filters will need to be replaced when the bulbs are changed, so maintenance staff should be aware of them and their use.

One advantage of fluorescent lights is that they produce little heat, which may also be harmful to textiles. Incandescent lights produce a large amount of heat in addition to large quantities of infrared radiation, which is likewise damaging to the fibers in antique textiles. If incandescent lights must be used, they should be placed far enough away from display cases that their heat does not affect the contents ^[4].

In the case of particularly delicate textiles, display organizers might consider motion-activated or timed lighting, or lighting controlled though a visitor-activated switch, which would allow the textiles to remain in darkness when they are not under view ^[5]. All textiles should be displayed on a rotating schedule, allowing them a few months of display, then the rest of the year in dark storage, to prolong their life.

Textile preservation

Textile preservation refers to the processes by which textiles are cared for and maintained to be preserved from future damage. The field falls under the category of art conservation as well as library preservation, depending on the type of collection. In this case, the concept of textile preservation applies to a wide range of artifacts, including tapestries, carpets, quilts, clothing, flags and curtains, as well as objects which ‘’contain’’ textiles, such as upholstered furniture, dolls, and accessories such as fans, parasols, gloves and hats or bonnets. Many of these artifacts require specialized care, often by a professional conservator. The goal of this article is to provide a general overview of the textile preservation process, and to serve as a jumping-off point for further research into more specialized care. Always contact a professional conservator if you are unsure of how to proceed in the preservation process.

Treatments

Textiles are often dyed, with fabrics available in almost every colour. Coloured designs in textiles can be created by weaving together fibres of different colours (tartan or Uzbek Ikat), adding coloured stitches to finished fabric (embroidery), creating patterns by resist dyeing methods, tying off areas of cloth and dyeing the rest (tie-dye), or drawing wax designs on cloth and dyeing in between them (batik), or using various printing processes on finished fabric. Woodblock printing, still used in India and elsewhere today, is the oldest of these dating back to at least 220CE in China.

Textiles are also sometimes bleached. In this process, , turning the textile pale or white.

Textiles are sometimes finished by chemical processes to change their characteristics. In the 19th century and early 20th century starching was commonly used to make clothing more resistant to stains and wrinkles. Since the 1990s, with advances in technologies such as permanent press process, finishing agents have been used to strengthen fabrics and make them wrinkle free.[1] More recently, nanomaterials research has led to additional advancements, with companies such as Nano-Tex and NanoHorizons developing permanent treatments based on metallic nanoparticles for making textiles more resistant to things such as water, stains, wrinkles, and pathogens such as bacteria and fungi.^[4]

Production methods

Main article: textile manufacturing

Brilliantly dyed traditional woven textiles of Guatemala, and woman weaving on a backstrap loom.

Weaving is a textile production method which involves interlacing a set of longer threads (called the warp) with a set of crossing threads (called the weft). This is done on a frame or machine known as a loom, of which there are a number of types. Some weaving is still done by hand, but the vast majority is mechanised.

Knitting and crocheting involve interlacing loops of yarn, which are formed either on a knitting needle or on a crochet hook, together in a line. The two processes are different in that knitting has several active loops at one time, on the knitting needle waiting to interlock with another loop, while crocheting never has more than one active loop on the needle.

Braiding or plaiting involves twisting threads together into cloth. Knotting involves tying threads together and is used in making macrame.

Lace is made by interlocking threads together independently, using a backing and any of the methods described above, to create a fine fabric with open holes in the work. Lace can be made by either hand or machine.

Carpets, rugs, velvet, velour, and velveteen, are made by interlacing a secondary yarn through woven cloth, creating a tufted layer known as a nap or pile.

Felting involves pressing a mat of fibres together, and working them together until they become tangled. A liquid, such as soapy water, is usually added to lubricate the fibres, and to open up the microscopic scales on strands of wool.

Synthetic textiles

All synthetic textiles are used primarily in the production of clothing.

Polyester fibre is used in all types of clothing, either alone or blended with fibres such as cotton.

Aramid fibre (e.g. Twaron) is used for flame-retardant clothing, cut-protection, and armor.

Acrylic is a fibre used to imitate wools, including cashmere, and is often used in replacement of them.

Nylon is a fibre used to imitate silk; it is used in the production of pantyhose. Thicker nylon fibres are used in rope and outdoor clothing.

Spandex (trade name Lycra) is a polyurethane fibre that stretches easily and can be made tight-fitting without impeding movement. It is used to make activewear, bras, and swimsuits.

Olefin fibre is a fibre used in activewear, linings, and warm clothing. Olefins are hydrophobic, allowing them to dry quickly. A sintered felt of olefin fibres is sold under the trade name Tyvek.

Ingeo is a polylactide fibre blended with other fibres such as cotton and used in clothing. It is more hydrophilic than most other synthetics, allowing it to wick away perspiration.

Lurex® is a metallic fibre used in clothing embellishment.

Sources and types

Textiles can be made from many materials. These materials come from four main sources: animal, plant, mineral, and synthetic. In the past, all textiles were made from natural fibres, including plant, animal, and mineral sources. In the 20th century, these were supplemented by artificial fibres made from petroleum.

Textiles are made in various strengths and degrees of durability, from the finest gossamer to the sturdiest canvas. The relative thickness of fibres in cloth is measured in deniers. Microfibre refers to fibres made of strands thinner than one denier.

History of clothing and textiles

The production of textiles is a craft whose speed and scale of production has been altered almost beyond recognition by industrialization and the introduction of modern manufacturing techniques. However, for the main types of textiles, plain weave, twill or satin weave, there is little difference between the ancient and modern methods.

Incas have been crafting quipus (or khipus) made of fibres either from a protein, such as spun and plied thread like wool or hair from camelids such as alpacas, llamas and camels or from a cellulose like cotton for thousands of years. Khipus are a series of knots along pieces of string. They have been believed to only have acted as a form of accounting, although new evidence conducted by Harvard professor, Gary Urton, indicates there may be more to the khipu than just numbers. Preservation of khipus found in museum and archive collections follow general textile preservation principles and practice.