Most modern interfacings have heat-activated adhesive on one side. They are affixed to a garment piece using heat and moderate pressure, from a hand iron for example. This type of interfacing is known as "fusible" interfacing. Non- fusible interfacings do not have adhesive and must be sewn by hand or machine.
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This type lines only the upper back and front of the garment, concealing the shoulder pads and interfacings,Editors of Creative Publishing (2005), p. 58 with or without sleeves.
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The collected fiber then has a higher yield of pure cashmere after the fiber has been washed and dehaired. The long, coarse guard hair is then typically clipped from the animal and is often used for brushes, interfacings and other non-apparel uses. Animals in Iran, Afghanistan, New Zealand, and Australia are typically shorn of their fleece, resulting in a higher coarse hair content and lower pure cashmere yield. In America, the most popular method is combing.
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Trench warfare in 1914, while not new, quickly became much improved and provided a very high degree of defense. According to two prominent historians: :Trenches were longer, deeper, and better defended by steel, concrete, and barbed wire than ever before. They were far stronger and more effective than chains of forts, for they formed a continuous network, sometimes with four or five parallel lines linked by interfacings. They were dug far below the surface of the earth out of reach of the heaviest artillery....Grand battles with the old maneuvers were out of the question.
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The satin weave is characterized by four or more fill or weft yarns floating over a warp yarn, four warp yarns floating over a single weft yarn. Floats are missed interfacings, for example where the warp yarn lies on top of the weft in a warp-faced satin. These floats explain the high luster and even sheen, as unlike in other weaves, the light reflecting is not scattered as much by the fibres. Satin is usually a warp-faced weaving technique in which warp yarns are "floated" over weft yarns, although there are also weft-faced satins.
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Bobbi Gibbons, "Brilliant Concept", The New Zealand Times (Wellington), 27 September 1981 Following her studies at the Royal College of Art, Gregory worked with European fashion house Zoe in Ibiza, Spain returning each winter for the next five years to design the summer collection.Bobbi Gibbons, "Brilliant Concept", The New Zealand Times (Wellington), 27 September 1981 In 1976, inspired by her overseas studies, including work experience in the Fashion Department of Vogue magazine London, and the International Wool Secretariat, London, Gregory returned to Wellington, New Zealand, with a plan to bring professionally designed high fashion garments to the New Zealand market in deconstructed form.Trish Jardine, "Trish Jardine talks fashion with Trish Gregory", Wellington Evening Post (Wellington), 9 December 1976 Ready cut to sew "Kitset Clothes" (later "Designer Fashion Kits") entered the market initially via retail in 1977."Kitset Fashion Clothing", Designscape Magazine (New Zealand), August 1977 Their unique design, featuring no zips, buttonholes, darts, linings, interfacings or hand sewing, meant they could be easily constructed at home following a simple instruction sheet.
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