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Blue Zircon Stone Meaning and Natural Zircon

Blue Zircon

Blue Zircon has great brilliance and intensive fire due to its high refractive index and strong dispersion. The shine is vitreous to a luminous sheen. The rigidity of it varies from 6.5-7.5 on Mohs scale. But in spite of that it is brittle and therefore sensitive to knocks and pressure. Blue Zircon along with turquoise is birthstone of Sagittarius. It looks best in daylight. In general it is transparent to translucent. Impurities cause the various color. Some crystals contain radioactive thorium and uranium. These slightly radioactive zircons are very unusual in the trade. These are highly prized and they pose no heath risk to its user.

Blue Zircon has the propensity to wear along facet edges. Hot water should be avoided; it should be protected from sudden temperature changes and household chemicals. Some gentle soap may be employed to clean it. A soft brush can be used to remove dirt from the crevices. Blue Zircon jewellery should be stored carefully in a separate box.

There are a number of ways in which Blue Zircon is used. Some of them can be mentioned as people born in December can use it as a conventional birthstone, Blue Zircon pendants and rings are very popular among the jewelry lovers, it can bring in success, financially and also in general and it is helpful for the insomniacs. There is some mythological value related to this gemstone. Hindu poets wrote of the Kalpa Tree, the ultimate gift to the gods, which was a glowing tree covered with gemstone fruit with leaves of Blue Zircon.

Blue Zircon is also said that in the past this precious gemstone was used to bring prosperity, aid sleep, and encourage honour and wisdom. In ancient time one believed that the cosmos reflects in the gemstones. This stone is associated with planet Pluto. It relieves pain. It is said to quicken ones appetite. It ensures a deep calm sleep. It helps one be more at peace with oneself.

Blue Zircon also provides the wearer with wisdom, honour and riches. One should be careful as the lost of lustre on a Zircon stone reflects danger. It helps rising ones self-esteem as well.

Textile Desizing Process and Types

Textile Desizing

Desizing is the process of removing the size material from the warp yarns after the textile fabric is woven.

Desizing processes

Desizing, irrespective of what the desizing agent is, involves impregnation of the fabric with the desizing agent, allowing the desizing agent to degrade or solubilise the size material, and finally to wash out the degradation products. The major desizing processes are:

Enzymatic desizing of starches on cotton fabrics
Oxidative desizing
Acid desizing
Removal of water-soluble sizes

Enzymatic desizing

Enzymatic desizing is the classical desizing process of degrading starch size on cotton fabrics using enzymes. Enzymes are complex organic, soluble bio-catalysts, formed by living organisms, that catalyze chemical reaction in biological processes. Enzymes are quite specific in their action on a particular substance. A small quantity of enzyme is able to decompose a large quantity of the substance it acts upon. Enzymes are usually named by the kind of substance degraded in the reaction it catalyzes.

Amylases are the enzymes that hydrolyses and reduce the molecular weight of amylose and amylopectin molecules in starch, rendering it water soluble enough to be washed off the fabric.

Effective enzymatic desizing require strict control of pH, temperature, water hardness, electrolyte addition and choice of surfactant.

Oxidative desizing

In oxidative desizing, the risk of damage to the cellulose fiber is very high, and its use for desizing is increasingly rare. Oxidative desizing uses potassium or sodium persulfate or sodium bromite as an oxidizing agent.

Acid desizing

Cold solutions of dilute sulphuric or hydrochloric acids are used to hydrolyze the starch, however, this has the disadvantage of also affecting the cellulose fiber in cotton fabrics.

Removal of water-soluble sizes

Fabrics containing water soluble sizes can be desized by washing using hot water, perhaps containing wetting agents (surfactants) and a mild alkali. The water replaces the size on the outer surface of the fiber, and absorbs within the fiber to remove any fabric residue.

Neutralization Process, Deacidification

Neutralization Process | Deacidification

Neutralization or Deacidification is carried out according to the type of leather to be produced.

The pH of the leather is adjusted to a value between 4.5 and 6.5.

Intensive neutralization throughout the whole cross-section is necessary for the production of soft leathers and neutralization to only a certain depth for firmer leathers.

Instead of using alkalis, the leathers are in some cases treated only with lightly neutralizing syntan-like auxiliaries.

Overneutralizing should always be avoided, as otherwise a coarse loose grain and an empty handle are obtained.

Vitamin E Benefits for Skin and Health Benefits

Vitamin E Benefits

Vitamin E Benefits – It thins the blood which is another significant health benefit. In other words, it prevents the blood platelets from clumping. High levels of it reduce the risk of sunstroke and coronary artery disorder or heart disease.

Vitamin E antioxidant properties are also important to cell membranes. For example, it protects lung cells that are in constant contact with oxygen and white blood cells that help fight disease.

It can be beneficial to people with diabetes. It enhances the action of insulin and improves blood glucose metabolism by reducing oxidative stress.

Premature babies receive vitamin E to reduce or prevent oxygen damage to the retina of the eye as a result of artificial ventilation.

When it is applied to cuts it may very well increase the healing rate because it minimizes oxidation reactions in the wound and also keeps the wound moist.

Vitamin E benefits includes as an antioxidant, a substance that may help prevent damage to the body’s cells. Antioxidants may provide protection against serious diseases including heart disease and cancer.

It protects the skin from environmental pollution, has a protecting action against UV radiation, contains powerful anti-inflammatory action, prevent the signs of premature ageing.

It is a fat-soluble antioxidant that stops the production of ROS formed when fat undergoes oxidation.

Vitamin E helps improve the appearance and texture of your hair. It works internally to condition the hair follicle, giving you smooth, shiny hair.

The E vitamin can alleviate painful menstruation (called dysmenorrhea by doctors). Take it for 2 to 3 days before and for 2 to 3 days after bleeding which decreases the pain, severity, and duration of menstruation, as well as reduces the amount of blood loss.

Calico Fabrics, Cloth and Clothing Overview

Calico

Calico is a plain-woven textile made from unbleached, and often not fully processed, cotton. It may contain unseparated husk parts, for example. The fabric is less coarse and thick than canvas or denim, but owing to its unfinished and undyed appearance, it is still very cheap. The fabric was made by the traditional weavers called caliyans.

The raw Calico fabric was dyed and printed in bright hues and calico prints became popular in Europe.

It was originated in Calicut in southwestern India during the 11th century. It was woven using Surat cotton for both the warp and weft. Early Indian chintzes, that is a glazed calico with large floral pattern, were primarily produced by painting techniques.

Early Indian chintzes that is a glazed calico with large floral pattern, were primarily produced by painting techniques. Later, the hues were applied by means of wooden blocks, and it was the wooden block printing that was used in London. Confusingly, linen and silk that was printed by this method was known as linen calicoes and silk calicoes. The early European calicoes (1680) would thus be a cheap equal weft and warp plain weave cotton fabric in white, cream or unbleached cotton, with a block printed design using a single alizarin dye, fixed with two mordants giving a red and black pattern.

Printed calico was imported into the United States from Lancashire in the 1780s, and here a linguistic separation occurred, while Europe maintained the word calico for the fabric, in the States it was used to refer to the printed design.

These colorful, small-patterned printed fabrics gave rise to the use of the word calico to describe a cat coat color: calico cat. The patterned fabric also gave its name to two species of North American crabs.

Traditional Weaving

Traditional Weaving
Chilkat weaving

Chilkat weaving is a traditional form of weaving practiced by Tlingit, Haida, Tsimshian, and other Northwest coastal tribes of Alaska and British Columbia. Chilkat blankets are worn by high-ranking tribal members on civic or ceremonial occasions, including dances.
Background of Chilkat Weaving

The name derives from the Chilkat tribe in Klukwan, Alaska on the Chilkat River. The Tsimshian might have invented the technique. Chilkat weaving can be applied to blankets, robes, dance tunics, aprons, leggings, shirts, vests, bags, hats, and wall-hangings. Chilkat clothing features long wool fringe that sways when the wearer dances. Traditionally chiefs would wear Chilkat blankets during potlatch ceremonies.

Chilkat weaving is one of the most complex weaving techniques in the world. It is unique in that the artist can create curvilinear and circular forms within the weave itself. A Chilkat blanket can take a year to weave. Traditionally mountain goat wool, dog fur, and yellow cedar bark are used in Chilkat weaving. Today sheep wool might be used. The designs used Northwest Coast formlines, a traditional aesthetic language made up of ovoid, U-form, and S-form elements to created highly stylized, but representational, clan crests and figures from oral history – often animals and especially their facial features. Yellow and black are dominant colors in the weavings, as is the natural buff color of the undyed wool. Blue can be an secondary color.

Looms used in Chilkat weaving only have a top frame and vertical supports, with no bottom frame, so the warp threads hang freely. The weaver works in vertical sections, as opposed to moving horizontally from end to end.
Finger weaving

Fingerweaving is a Native American art form used mostly to create belts, sashes, straps, and other similar items through a non-loom weaving process. Unlike loom-based weaving, there is no separation between weft and warp strands, with all strands playing both roles

North and Central American Finger weaving

Some patterns and color combinations were originally restricted to certain societies or clans, while others were available for general use by all. Belts, sashes, leg bands, capes, gun straps, even dresses, shirts, and pants were created by the sometimes intricate patterns and methods. Often beads or feathers were interwoven into the patterns of the articles.

The French Voyagers (fur traders in the northern US and southern Canada) adapted the finger weaving patterns to create belts and sashes which showed which company they belonged to. The belts were the original weight belts, as they added extra support to their stomachs when they were lifting heavy canoes or packets of beaver pelts, which sometimes weighed up to 600 lbs. The Spanish conquistadors used fingerwoven sashes to proclaim which command they were in, as well as to record their conquests over the Native Americans.
South American Finger weaving

Although South American styles shared much in common with those from North America, some differences are reliably observable. In addition to many of the specific weaves from the north, additional atyles were created by using multiple weft strands at a time.

Basic Weaves

The most basic weave is called a diagonal weave, as it creates a series of parallel lines running down the length of the weave at a diagonal. Whether one weaves from left to right or from right to left does not matter, as the pattern is the same, however, the direction must stay the same or the pattern will change.

As with loom weaving, one starts with an even number of warp strands, but with no weft strand. Divide the warp strands into two groups, a top and bottom row. Take the top left (or top right) strand, and run it between the top and bottom rows, turning it into a weft. Reverse the position of each warp strand (from top to bottom or bottom to top), making sure to keep all strands in the same order and placement to form a single interlocked row.

For the second row, take the new top left (or top right) warp strand, and tuck it between the top and bottom, forming a new weft strand. Again, interlink the top and bottom rows, making sure to use the old weft strand from row #1. Continue this process until the desired length is completed.

Other common, but more difficult patterns include those of lightning bolts, arrowheads, and chevrons. By making slight changes to the weaving process, a wide variety of unique patterns can be created.
Inkle weaving

Inkle weaving is a type of warp-faced weaving where the shed is created by manually raising or lowering the warp yarns, some of which are held in place by fixed heddles on a loom known as an inkle loom. Though inkle weaving was brought to the United States of America (US) in the 1930s, the inkle itself seems to predate this by several centuries, being referred to in Shakespeare’s Love’s Labour’s Lost.

Inkle weaving is commonly used for narrow work such as trims, straps and belts.
Equipment For Inkle Weaving

Inkle looms are constructed in both floor and table-top models. Either model is characterized by a wooden framework upon which dowels have been fastened. These dowels will hold the warp threads when the loom has been dressed. One of the dowels is constructed so that its position can be adjusted. This tensioning device will be taken in as weaving commences and the warp threads become shorter. Additional equipment includes yarn of the weaver’s choice, yarn or thread for forming heddles and a shuttle to hold the weft. A notebook is also handy for charting weaving diagrams.

Process of Inkle Weaving

The inkle loom is threaded with warp threads according to the weaver’s design, alternating between yarn that that can be raised and lowered and yarn that is secured in place through the use of the heddles. The raising and lowering of these warp threads creates the shed through which the weft thread will be carried on a shuttle. The weaver should make one pass with the shuttle with each opening of a shed through the raising and lowering of threads.

A simple raising and lowering of threads creates a plain-weave band in which warp threads are slightly offset. Weft threads are only visible at the edges of the band and the weaver may wish to take this into account by warping threads that will form the edges in the same color as the weft.

As the weaving commences, the warp threads will shorten on the loom and the weaver will need to adjust the tension periodically. As the inkle band progresses, it will also get closer to the heddles. The weaver will also need to advance the warp thread along the bottom of the loom to open up new weaving space. In her book “Inkle Weaving,” Helene Bress recommends loosening the tension when you are ready to advance the warp. Once you have done so, tighten the tension again and resume your weaving.

There are other more advanced techniques in which, instead of merely allowing warp threads to alternate in their up or down positions, individual threads are brought to the surface to form a brocaded pattern. One side of the band will show the exposed surfaces of warp threads while, on the other side of the pattern, the weft thread will be visible

An inkle loom is also useful in the practice of tablet weaving for its added portability. Simply thread the warp onto the loom but use cards instead of alternating between free-hanging and heddle-secured yarn.
Uses of Inkle Weaving

The narrow bands that inkle weaving forms are ideal for using as belts or for decorating the edges of a garment. (This weaver finds a narrow strip of hand-made fabric to be ideal as a strap for use in yoga. The many varieties of color and pattern are limited only by the weaver’s imagination.

Tablet weaving

Tablet Weaving (often card weaving in the United States) is a weaving technique where tablets, also called ‘cards’, are used to create the shed the weft is passed through. The technique is limited to narrow work such as belts, straps, or garment trim.

The origins of this technique go back at least to the early Iron age. Examples have been found at Hochdorf, Germany, and Apremont, France. Tablet-woven bands are commonly found in Iron age graves and are presumed to be standard trim for garments among various peoples, including the Vikings. As the materials and tools are relatively cheap and easy-to-obtain, tablet weaving is popular with hobbyist
weavers.

Tools

The tablets used in weaving are typically shaped as regular polygons, with holes near each vertex and possibly at the center, as well. The number of holes in the tablets used is a limiting factor on the complexity of the pattern woven. The corners of the tablets are typically rounded to prevent catching as they are rotated during weaving.

In the past, weavers made tablets from bark, wood, bone, horn, stone, leather, or a variety of other materials. Modern cards are frequently made from cardboard. Some weavers even drill holes in a set of playing cards. This is an easy way to get customized tablets or large numbers of inexpensive tablets. The tablets are usually marked with colors or stripes so that their facings and orientations can be easily noticed.
Procedure of Tablet Weaving

The fundamental principle is to turn the tablets to lift selected sets of threads in the warp. The tablets may be turned in one direction continually as a pack, turned individually to create patterns, or turned some number of times “forward” and the same number “back”. Twisting the tablets in only one direction can create a ribbon that curls in the direction of the twist, though there are ways to thread the tablets that mitigate this issue.

Traditionally, one end of the warp was tucked into, or wrapped around the weaver’s belt, and the other is looped over a toe, or tied to a pole or furniture. Some traditional weavers weave between two poles, and wrap the weft around the poles. Commercial “tablet weaving looms” adapt this idea, and are convenient because they make it easy to put the work down.

Some modern weavers thread each card individually, but this is time consuming. The traditional threading method is to put all the threads through the holes of an entire deck. Then, starting at the pair of cards farthest from the bobbins, the threads are pulled from between each pair of cards out to the length of the warp, and hooked or tied on each end. If the cards remain “paired”, so that alternate cards twist in opposite directions, continuous turning does not twist the ribbon. Some weavers in some patterns flip alternate cards, “unpairing” them. This makes it easier to turn individual cards.

A shuttle about twice as wide as the ribbon is placed in the shed to beat the previous weft, then carry the next weft into the shed. Shuttles made for tablet weaving have sharp edges to beat down the weft. The best shuttles have plates to cover the bobbin, and keep it from catching the warp. Simple flat wooden or plastic shuttles work well for weaving with large yarns, but weaving with finer threads goes more quickly with a tablet-weaving shuttle.

Patterns are made by placing different-colored yarns in different holes, then turning individual cards until the desired colors of the weft are on top. After that, a simple pattern, like a stripe, small diamond or check, can be repeated just by turning the deck of tablets.

Tablet weaving is especially freeing, because any pattern can be created by turning individual tablets. This is in contrast to normal looms, in which the complexity of the pattern is limited by the number of shafts available to lift threads, and the threading of the heddles.

Tablet weaving can also be used to weave tubes or double weave. The tablets are made to have four levels in the warp, and then two sheds are beat and wefted, one in the top pair of warps, and the other in the bottom pair, before turning the deck. Since groups of tablets can be turned separately, the length, width and joining of the tubes can be controlled by the weaver
Taniko

Taniko (or taaniko), is a traditional weaving technique of the Māori of New Zealand related to “twining”. It may also refer to the resulting bands of weaving, or to the traditional designs.

The Taniko technique does not require a loom, although one can be used. Traditionally free hanging warps were suspended between two weaving pegs and the process involved twining downward. The traditional weaving material is “muka”, fibre prepared from the New Zealand flax . The muka fibre was dyed using natural dyes
Tapestry

Tapestry is a form of textile art, woven on a vertical loom. It is composed of two sets of interlaced threads, those running parallel to the length (called the warp) and those parallel to the width (called the weft); the warp threads are set up under tension on a loom, and the weft thread is passed back and forth across part or all of the warps. Tapestry is weft-faced weaving, in which all the warp threads are hidden in the completed work, unlike cloth weaving where both the warp and the weft threads may be visible. In tapestry weaving, weft yarns are typically discontinuous; the artisan interlaces each colored weft back and forth in its own small pattern area. It is a plain weft-faced weave having weft threads of different colours worked over portions of the warp to form the design.

Most weavers use a naturally based warp thread such as linen or cotton. The weft threads are usually wool or cotton, but may include silk, gold, silver, or other alternatives. Both craftsmen and artists have produced tapestries. The ‘blueprints’ on cardboard (also known as ‘tapestry cartoons’) were made by artists of repute, while the tapestries themselves were produced by craftsmen

Acetate Clothing, Fabric and Material

Acetate Clothing

Acetate Clothing is very smooth and has a magnificent look like cotton. It has an outstanding drape-ability. The material colors and styles well. Acetate does not process wetness quickly but cures quick. Acetate Fabric is immune to shrinking, moth and mold. Acetate Clothing has no pilling issue and very little fixed issue. Triacetate is an enhanced material, which does not liquefy quickly and is simple to take care.

Acetate fabric History

Acetate Fabric is created from the cellulose acquired by deconstructing natural organic cotton or wooden pulp. It was designed by Physicians Camille and Henri Dreyfus, Europe bros. In 1905, both of them designed professional procedure to produce cellulose acetate. By 1913, their studies in the clinical created examples of steady filament acetate yarn. In the season 1924, very first time, the acetate filament was commercially spun in U.S. and was and was trademarked as Celanese.

Acetate Clothing provides comfort against the covering. It takes up wetness and body oil from our body.

Acetate Clothing Properties

  • is crisp or soft touch.
  • dyes and prints well.
  • Acetate Clothing drapes well.
  • is shrink, moth, and mildew resistant.
  • Acetate Clothing is of low moisture absorbency and relatively fast drying.
  • has little static problem.
  • has no pilling problem

Acetate Clothing Uses

  • It is also used as wedding and party outfit, shirts, dresses.
  • are used in home furnishings, it is widely used as draperies, upholstery, curtains, bedspreads and slipcovers.

Embroidery Threads Overview

Embroidery Threads

Embroidery thread is yarn that is manufactured or hand-spun specifically for embroidery and other forms of needlework.

Threads for hand embroidery include:

Crewel yarn is a fine 2-ply yarn of wool or, less often, a wool-like acrylic.
Embroidery floss or stranded cotton is a loosely twisted, slightly glossy 6-strand thread, usually of cotton but also manufactured in silk, linen, and rayon. Cotton floss is the standard thread for cross-stitch. Extremely shiny rayon floss is characteristic of Brazilian embroidery. Historically, stranded silk embroidery threads were described as sleaved or sleided in the sixteenth century.
Filoselle is a historical term for embroidery floss made using the left-over waste from reeled silk.
Matte embroidery cotton or French coton à broder is a matte-finish (not glossy) twisted 5-ply thread.
Medici or broder medici is a fine, light-weight wool thread formerly manufactured by DMC Group.
Perle cotton, pearl cotton, or French coton perlé is an S-twisted, 2-ply thread with high sheen, sold in five sizes or weights (No. 3, 5, 8, 12 and 16 (Finca), with 3 being the heaviest and 16 the finest).
Persian yarn is a loosely twisted 3-strand yarn of wool or acrylic, often used for needlepoint.
Tapestry yarn or tapestry wool is a tightly twisted 4-ply yarn.

Threads for machine embroidery are usually of polyester or rayon (less often cotton or silk).

Threads, like textiles, can contain compounds that may be harmful to humans. Many dyes have been shown to be allergenic and in some cases carcinogenic. Testing for the presence of these dyes, and other additives can be done at many commercial laboratories.

Certification to the Oeko-tex standard may also be applied for. This tests the component for over 100 different chemicals and certifies the component according to human ecological safety.

Acrylic Fiber Info and Acrylic Fibre Properties

Acrylic Fiber

Acrylic fiber is synthetic fiber made from a polymer (Polyacrylonitrile) with an average molecular weight of 100,000, about 1900 monomer units. To be called acrylic in the U.S, the polymer must contain at least 85% acrylonitrile monomer. Typical comonomers are vinyl acetate or methyl acrylate.

Acrylic Fiber Production

The polymer is formed by free-radical polymerization in aqueous suspension. The Acrylic fiber is produced by dissolving the polymer in a solvent such as N,N-dimethylformamide or aqueous sodium thiocyanate, metering it through a multi-hole spinnerette and coagulating the resultant filaments in an aqueous solution of the same solvent (wet spinning) or evaporating the solvent in a stream of heated inert gas (dry spinning). Washing, stretching, drying and crimping complete the processing.

The Acrylic Fiber is produced in a range of deniers, typically from 1 to 15 as cut staple or as a 500,000 to 1 million filament tow. End uses include sweaters, hand-knitting yarns, rugs, awnings, boat covers, and upholstery. The fiber is also used as a precursor for carbon fiber. Production of Acrylic Fiber is centered in the Far East, declining in Europe and now shut down (except for precursor) in the U.S. Former U.S. brands of acrylic were Acrilan (Monsanto). Creslan (American Cyanamid) and Orlon (DuPont).

Acrylic Fiber Properties

  • Outstanding wick ability and quick drying to move moisture from body surface
  • is Flexible aesthetics for wool-like, cotton-like, or blended appearance
  • Easily washed, retains shape
  • Acrylic Fiber is Resistant to moths, oil, and chemicals
  • Dyeable to bright shades with excellent fastness
  • is Superior resistance to sunlight degradation

Acrylic Fiber Uses

Apparel: Sweaters, socks, fleece wear, circular knit apparel, sportswear and childrens wear

Home Furnishings:Acrylic Fiber is used in Blankets, area rugs, upholstery, pile; luggage, awnings, outdoor furniture

Other Uses: is used in Craft yarns, sail cover cloth, wipe cloths.

Industrial Uses:Acrylic Fiber is used in Asbestos replacement; concrete and stucco reinforcement.

Acrylic fiber has excellent chemical, biological, sunlight and general weatherability resistance. Acrylic fiber has high electrical resistance, and good tenacity. However, the material is attacked by strong bases. Acrylic fiber is reasonably comfortable to wear. A review of its properties clearly explains why it is widely used for outdoor applications.

Acrylic fiber compete in the market place with other synthetic fibers (such as polyester and nylon) and natural fiber (such as cotton and wool).

Rhinestone Designs and Rhine Stone Products

Rhinestone

A rhinestone is a diamond stimulant made from rock crystal, glass or acrylic.

Originally, rhinestone were rock crystals gathered from the river Rhine. The availability was greatly increased when around 1775 the Alsatian jeweler Georg Friedrich Strass had the idea to imitate diamonds by coating the lower side of glass with metal powder. Hence, rhinestones are called Strass in many European languages.

It may be used as imitations of diamonds, and some manufacturers even manage to capture the glistening effect real diamonds have in the sun.

In 1955, the Aurora Borealis or Aqua aura, a thin, vacuum-sputtered metallic coating applied to crystal stones to produce an iridescent effect, was introduced. Aurora Borealis tends to reflect whatever color is worn near it, and it is named after the Aurora Borealis atmospheric phenomenon, also known as the Northern Lights.

Typically, the crystal rhinestone have been primarily used on costumes, apparel and jewelry. Crystal rhinestones are produced mainly in Austria by Swarovski and in Czech Republic by Preciosa and few other Bohemian Glass works in Northern Bohemia. In USA, these are sometimes called Austrian Crystal.

Products in which Rhinestone is used are listed below

  • Necklace
  • Beads
  • Clothing
  • Brooches
  • Buttons
  • Hair Clips

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