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Green Tourmaline Meaning, Value and Properties

Green Tourmaline

Green tourmaline strengthens the heart and offers detoxification effects. It attracts luck, success, abundance and prosperity. It inspires creativity, and may be used to project, create and manifest one’s goals. It might also increase one’s opportunities to earn a second income by turning an interest or hobby into a business.

Green tourmaline can be cut in all kinds of different ways. However, the cutting of a tourmaline does require special care, since the color intensity of most green tourmaline is variously developed depending on the direction of growth. It has become a favorite in jewelry because it is available in so many shapes. There are square, pear, trillion, cabochon, round, emerald cut, oval, cushion, and heart shaped cut tourmaline in many color nuances.

Green Tourmaline is excellent for sports persons and athletes, and anyone in occupations where rigorous activity is required.

It fortifies the nervous system and is beneficial to the eyes, thymus, ductless glands and the immune system. It is a useful detoxifier and for treating the intestines and chronic bowel diseases, and may be useful in weight loss. It purifies and strengthens the nervous system, allowing it to carry greater amounts of Spirit force.

Deposits of this stone have been found in Africa, Afghanistan, Pakistan, Australia, Brazil and the USA. It is often sold under the trade name Verdelite and this name is commonly used when selling Green Tourmaline jewelry.

It gives a man the strength, courage, and self-confidence he needs to realize his full potential. It broadens a man’s awareness as it strengthens every molecule in his body.

Skin Care Routine and Simple Skin Care

Skin Care Routine

Skin Care Routine – The Skin Cleansing is quite essential to avoid acnes and other skin problems. Wash your skin often using a mild face wash and wipe off with a clean washcloth. It is quite important to get rid of any impurities such as dirt particles and makeup before going to sleep so that your skin can breathe properly at night. Use mild cleanser at least twice a day but make sure that it rinses away easily, does not cause skin irritation and do not wash away natural oils too.

Skin Care Routine – The Skin Toners not only cleanse the skin further and help in removing any remnants of particles that you may have left behind but also cools, nourishes, hydrates and freshens up your skin.

Skin Care Routine – Sin toning tightens up skin and close up any skin pores that may have opened up while deep cleansing the face. Toners must be alcohol-free as alcohol dries off skin.

Skin Care Routine – The Skin Exfoliants remove dead cells from the skin, rejuvenate the skin and eliminate fine lines and wrinkles from the face. The younger skin that surfaces after exfoliation naturally looks more beautiful and glowing. These products usually have alpha or beta hydroxy acids to quicken up the process but do avoid the ones that are granular as they tend to damage the new skin too that is much more sensitive than the mature layer that it digests.

Skin Care Routine – The Skin Like our body, our skin also needs hydration and proper nutrients to keep it healthy. So, treat it with a good moisturizer and a broad-spectrum sunscreen with more than SPF 15 daily and night cream daily that helps the skin to balance and restores any damage that might have occurred to it overnight.

Textile / Apparel / Garment / Fashion Colleges in Canada

Textile / Apparel / Garment / Fashion Colleges in Canada

Concordia University – Québec

Montréal, Québec, Canada

address: 1455 de Maisonneuve Boulevard WestMontréal, H3G 1M8Canada

telephone: +1 (514) 848 2424

telefax: +1 (514) 848 3494

website URL: http://www.concordia.ca/


admin director: Susan Hudson

chief librarian: R. Bonin

public relations: Christopher Hinton

subjects include:Fabric & Textile,Fashion & Apparel.

libraries: Concordia University Library – QuébecConcordia University Archives

Kwantlen University College

Richmond, British Columbia, Canada

address: 8771 Lansdowne RoadRichmond, V6X 1Z9Canada

telephone: +1 (604) 599 2525

telefax: +1 (604) 599 2578

website URL: http://www.kwantlen.bc.ca/


admin director: Barbara Duggan

public relations: Barbara Duggan

subjects include:Fabric & Textile: Mary Boni

Fashion & Apparel: Mary Boni

Mohawk College of Applied Arts

Hamilton, Ontario, Canada

address: 135 Fennell Ave. WestHamilton, L8N 3T2Canada

telephone: +1 (416) 575 1212

telefax: +1 (416) 575 2302

website URL: http://www.mohawkc.on.ca/


admin director: Cal Haddad

acad director: Catherine Rellinger

admissions officer: Brian Goodman

chief librarian: Sandra Black

public relations: Marianne Wilson

subjects include:Fashion & Apparel

Textile Design.

University College of the Fraser Valley [ UCFV ]

Abbotsford, British Columbia, Canada

address: 33844 King RoadAbbotsford, V2S 7M8Canada

telephone: +1 (604) 855 7614

telefax: +1 (604) 859 6653

website URL: http://www.ucfv.bc.ca/

staff: admin director: Wayne Welsh

acad director: H.A. Bassford

admissions officer: Bill Cooke

chief librarian: Kim Isaac

public relations: Karola Stinson

subjects include:Fabric & Textile,Fashion & Apparel.

libraries: University College of the Fraser Valley Library

Vancouver Community College

Vancouver, British Columbia, Canada

address: 250 West Pender StreetVancouver, V6B 1S9Canada

telephone: +1 (604) 443 8300

telefax: +1 (604) 443 8588

website URL: http://vcc.ca/

e-mail address: continuinged@vcc.ca


admin director: Daryl Plear

public relations: Daryl Plear

subjects include:Fashion Arts

libraries: Vancouver Community College

George Brown College of Applied Arts & Technology

Toronto, Ontario, Canada

address: Box 1015, Station BToronto, M5T 2T9Canada

telephone: +1 (416) 415 2000

telefax: +1 (416) 415 2600

website URL: http://www.gbrownc.on.ca/


admin director: Michael Maynard

acad director: John Price

admissions officer: Brian Schlotzhauer

chief librarian: John Hardy

public relations: Rosalie Starkey

subjects include: Fashion & Apparel.

La Salle College

Montréal, Québec, Canada

address: 2000 Saint-Catherine Street WestMontréal, H3H 3T3Canada

telephone: +1 (514) 939 2006

telefax: +1 (514) 939 2015

website URL: http://www.clasalle.qc.ca/

subjects include: Apparel Production Management

Fashion Design,Fashion Marketing.

New Brunswick College of Craft & Design [ NBCCD ]

Fredericton, New Brunswick, Canada

address: PO 6000, 457 Queen StreetFredericton, E3B 5H1Canada

telephone: +1 (506) 453 2305

telefax: +1 (506) 457 7352

Internet URL: http://www.gov.nb.ca


admin director: Luc Paulin

acad director: Steve Goudey

admissions officer: Louise Neveu

chief librarian: Sheila Pelkey

public relations: Diane Dobbelsteyn

subjects include: Fabric & Textile: Harriet Harding

Fashion & Apparel: Ellen Woolaver.

University of Alberta – Edmonton

Edmonton, Alberta, Canada

address: University CampusEdmonton, T6G 2J8Canada

telephone: +1 (780) 492 3111

telefax: +1 (780) 492 1488

website URL: http://www.ualberta.ca/


admin director: Desmond Rochfort

chief librarian: E. Ingles

public relations: Rob Lake

subjects include:Fashion & Apparel,Human Ecology (textile)

libraries: University of Alberta Library

Alberta College of Art & Design

Alberta College of Art & Design 1407 14th Ave. NWCalgary, T2N 4R3Canada

tel: +1 (403) 284 7600

fax: +1 (403) 289 6682

url: www.acad.ab.ca

admin director: Arwin van Voorhuizen

public relations: Arwin van Voorhuizen

libraries: Alberta College of Art & Design Library

subjects:Fabric & Textile: Katharine Dickerson.

Banff Centre for the Arts

Banff Centre for the Arts 107 Tunnel Mountain Dr., PO 1020Banff, AlbertaCanada

tel: +1 (403) 762 6180

fax: +1 (403) 762 6345


admin director: Carol Phillips

public relations: Tim Christison

subjects:Fabric & Textile.

Mount Royal College

Mount Royal College 4825 Richard Road SWCalgary, T3E 6K6Canada

tel: +1 (403) 240 6111

fax: +1 (403) 240 6698

url: www.mtroyal.ab.ca

email: admissions@mtroyal.ab.ca

admin director: Judy Lathrop

acad director: Larry Dawson

admissions officer: Patti Harrison

chief librarian: Madeleine Lefebvre

public relations: Maura Hamill

libraries: Mount Royal College Library

subjects:Fabric & Textile.

Capilano College

Capilano College 2055 Purcell WayNorth Vancouver, V7J 3H5Canada

tel: +1 (604) 990 7914

fax: +1 (604) 983 7576

url: www.capcollege.bc.ca

email: inted@capcollege.bc.ca

acad director: Greg Lee

libraries: Capilano College Library Capilano College

subjects:Fabric & Textile-JazzTheatre

University of Manitoba

University of Manitoba 350 Chancellor Mathesson RoadWinnipeg, R3T 2N2Canada

tel: +1 (204) 474 8880

fax: +1 (204) 275 3148


email: admissions@umanitoba.ca

admin director: James Gardner

acad director: Terry Falconer

admissions officer: Dave Halstead

chief librarian: Carolynne Presser

public relations: Tracey Keryluk


New Brunswick College of Craft & Design : NBCCD

New Brunswick College of Craft & Design PO 6000, 457 Queen StreetFredericton, E3B 5H1Canada

tel: +1 (506) 453 2305

fax: +1 (506) 457 7352


admin director: Luc Paulin

acad director: Steve Goudey

admissions officer: Louise Neveu

chief librarian: Sheila Pelkey

public relations: Diane Dobbelsteyn

Fabric & Textile: Harriet Harding

Fashion & Apparel: Ellen

College of the North Atlantic

College of the North Atlantic Campbell DriveLabrador City, A2V 2Y1Canada

tel: +1 (709) 944 7210

fax: +1 (709) 944 6581


libraries: Labrador College Library

subjects:Textile Studies

Nova Scotia College of Art & Design

Nova Scotia College of Art & Design 5163 Duke StreetHalifax, B3J 3J6Canada

tel: +1 (902) 422 7381

fax: +1 (902) 425 2420


admin director: Alice Mansell

chief librarian: Ilga Leya

public relations: Alice Mansell

libraries: NSCAD Library

Fabric & Textile: Robin Muller

Brock University

Brock University 500 Glenridge AvenueSaint Catharines, L2S 3A1Canada

tel: +1 (905) 688 5550

fax: +1 (905) 688 2789


admin director: Joan Nicks

chief librarian: J. Hogan

public relations: Joan Nicks

libraries: Brock University Librarys

subjects:Fabric & Textile: Jean Bridge

Jersey Fabric, Cloth, Material, Jersey Clothing

Jersey Fabric

Jersey fabric is a knit fabric used predominantly for clothing manufacture. It was originally made of wool, but is now made of wool, cotton, and synthetic fibers. It can be a very stretchy single knitting, usually light-weight, jersey fabric with one flat side and one piled side. When made with a light weight yarn, this is the fabric most often used to make T-shirts. Jersey fabric can be a double knitted jersey (interlock jersey), with less stretch, that creates a heavier fabric of two single jerseys knitted together to leave the two flat sides on the outsides of the fabric, with the piles in the middle. It is considered to be an excellent fabric for draped garments, such as dresses, and women’s tops.

The following types of Jersey fabric can be distinguished:

Single Cotton Jersey fabric – weight: 140 g / m²
Double Cotton
Interlock Cotton
Jacquard Cotton
Clocque Cotton

Jersey Fabric can be washed in warm water with like colors, and tumble dried on a medium setting. The fabric can stretch up to 25% percent along its grain. When cutting and sewing jersey fabric, it is recommended that the material be washed first, to eliminate issues related to shrinkage later in the process.

Overview of Ginning

Overview of Ginning

Ginning is the process of separating the cotton fibers from the cotton seeds. Perfect ginning operation would be performed if the separation of fibers from seed was effected without the slightest injury to either seeds or to the fiber.

A cotton gin is a machine that quickly and easily separates the cotton fibers from the seeds, a job previously done by hand. These seeds are either used again to grow more cotton or, if badly damaged, are disposed of. It uses a combination of a wire screen and small wire hooks to pull the cotton through the screen, while brushes continuously remove the loose cotton lint to prevent jams. The term “gin” is an abbreviation for engine, and means “machine”.

History of Ginning

The gin method for seeding cotton can be traced back as far as the first century AD. The earliest versions consisted of a single roller made of iron or wood and a flat piece of stone or wood. Evidence for this type of gin has been found in Africa, Asia, and North America. The first documentation of the cotton gin by contemporary scholars is found in the fifth century AD. Visual evidence of the single-roller gin exists in the form of fifth-century Buddhist paintings in the Ajanta Caves in western India. These early gins were difficult to use and required a great deal of skill. A narrow single roller was necessary to expel the seeds from the cotton without crushing the seeds. The design was similar to that of a metate, which was used to grind grain. The earliest history of the cotton gin is ambiguous due to the fact that archeologists likely mistook the cotton gin’s parts for other tools.

Between the twelfth and fourteenth centuries, dual roller gins appeared in India and China. The Indian version of the two roller gin was prevalent throughout the Mediterranean cotton trade by the sixteenth century. This mechanical device was, in some areas, driven by water power.

The modern cotton gin was created by the American inventor Eli Whitney in 1793 to mechanize the cleaning of cotton. The invention was granted a patent on March 14, 1794.

Many people attempted to develop a design that would process short staple cotton and Hodgen Holmes, Robert Watkins, William Longstreet, and John Murray were all issued patents for improvement to the cotton gin by 1796. However, the evidence indicates that Whitney did invent the saw gin, for which he is famous.

Textile Dyeing Process and Methods

Textile Dyeing

Dyeing is the process of adding colour to textile products like fibres, yarns, and fabrics. Dyeing is normally done in a special solution containing dyes and particular chemical material. After dyeing, dye molecules have uncut chemical bond with fiber molecules. The temperature and time controlling are two key factors in dyeing. There are mainly two classes of dye, natural and man-made.

The primary source of dye, historically, has generally been nature, with the dyes being extracted from animals or plants. Since the mid-18th century, however, humans have produced artificial dyes to achieve a broader range of colors and to render the dyes more stable to resist washing and general use. Different classes of dyes are used for different types of fiber and at different stages of the textile production process, from loose fibers through yarn and cloth to completed garments.

Acrylic fibers are dyed with basic dyes, while nylon and protein fibers such as wool and silk are dyed with acid dyes, and polyester yarn is dyed with disperse dyes. Cotton is dyed with a range of dye types, including vat dyes, and modern synthetic reactive and direct dyes.


Dyes are applied to textile goods by dyeing from dye solutions and by printing from dye pastes. The methods are -

Direct application

The term “direct dye application” stems from some dyestuff having to be either fermented as in the case of some natural dye or chemically reduced as in the case of synthetic vat and sulfur dyes before being applied. This renders the dye soluble so that it can be absorbed by the fiber since the insoluble dye has very little substantivity to the fiber. Direct dyes, a class of dyes largely for dyeing cotton, are water soluble and can be applied directly to the fiber from an aqueous solution. Most other classes of synthetic dye, other than vat and surface dyes, are also applied in this way.

The term may also be applied to dyeing without the use of mordants to fix the dye once it is applied. Mordants were often required to alter the hue and intensity of natural dyes and improve color fastness. Chromium salts were until recently extensively used in dying wool with synthetic mordant dyes. These were used for economical high color fastness dark shades such as black and navy. Environmental concerns have now restricted their use, and they have been replaced with reactive and metal complex dyes that do not require mordant.

Yarn dyeing

There are many forms of yarn dyeing. Common forms are the package form and the hanks form. Cotton yarns are mostly dyed at package form, and acrylic or wool yarn are dyed at hank form. In the continuous filament industry, polyester or polyamide yarns are always dyed at package form, while viscose rayon yarns are partly dyed at hank form because of technology.

The common dyeing process of cotton yarn with reactive dyes at package form is as follows:

The raw yarn is wound on a spring tube to achieve a package suitable for dye penetration.
These softened packages are loaded on a dyeing carrier’s spindle one on another.
The packages are pressed up to a desired height to achieve suitable density of packing.
The carrier is loaded on the dyeing machine and the yarn is dyed.
After dyeing, the packages are unloaded from the carrier into a trolly.
Now the trolly is taken to hydro extractor where water is removed.
The packages are hydro extracted to remove the maximum amount of water leaving the desired color into raw yarn.
The packages are then dried to achieve the final dyed package.₪

After this process, the dyed yarn packages are packed and delivered.

Removal of dyes

If things go wrong in the dyeing process, the dyer may be forced to remove the dye already applied by a process called “stripping”. This normally means destroying the dye with powerful reducing agents such as sodium hydrosulphite or oxidizing agents such as hydrogen peroxide or sodium hypochlorite. The process often risks damaging the substrate (fiber). Where possible, it is often less risky to dye the material a darker shade, with black often being the easiest or last option.

Dobby Fabric Overview and Dobbies Uses

Dobby Fabric

Dobby Fabric is a patterned fabric like jacquard weave but the patterns are smaller. It produces an allover figured fabrics. The figures are bird’s eye, small diamonds with a dot at the center, or smaller geometric patterns. The construction of the Dobby Fabric is very complex and the design is repeated frequently.

Dobby Fabric is created on dobby machines. The machine selectively raises some warp threads and selectively depresses others with the help of a dobby card. Dobbies vary in weight or compactness. It ranges from very fine to coarse and fluffy yarns. The standard dobbies are generally flat and relatively fine or sheer.

It is a woven fabric produced on the dobby loom, characterized by small geometric patterns and extra texture in the cloth. The warp and weft threads may be the same color or different. Satin threads are particularly effective in this kind of weave as their texture will highlight the pattern.

Polo shirts are usually made with Dobby Fabric. Pique fabrics are a type of Dobby Fabric construction.

Dobby Fabric Types

  • Brocade
  • Moss Crepe
  • Matelasse

Uses of Dobby Fabric

  • A good example of Dobby Fabric is stripes or waffle cloth but the designs need to be straight vertically or horizontally.
  • Heavyweight fabric is used as home furnishings and for heavy apparel.

Bonded Leather Info, What is Bonded Leather

Bonded Leather

Bonded leather is a material made of varying degrees of genuine leather combined with other substances to give the appearance of leather at reduced cost. It can be found in furniture, bookbinding, and various fashion accessories. Examples of products that are most commonly constructed with different varieties of bonded leather are: books, diaries, art books, desk accessories, bags, belts, chairs, and sofas.

Bonded Leather Durability

There are different types of bonded leather, but the type being used on upholstered furniture today is a polyurethane or vinyl product, backed with fabric and then a layer of latex or other material mixed with a small percentage of leather fibers in the product’s backing material. The actual leather content of bonded leather varies from manufacturer and the quality they are presenting. The polyurethane surface is stamped to give it a leather-like texture. In the home furnishings industry there is much debate and controversy over the ethics of using the term bonded leather to describe a vinyl upholstery product.

Other types include fragile paper-backed bonded leather constructions used to cover books and desk accessories. These may contain a smaller proportion of leather and have some leather content in the product’s surface, hence there may be an actual leather smell.

Bonded Leather Furniture

Bonded leather furniture contains low levels of environmentally unsafe formaldehyde. As a result, it may be better for people with environmental allergies or for those who are looking for green furniture. In addition, the manufacturing process for bonded leather is almost waste free. It is highly durable and comes in many colors and finishes. It also is less expensive than leather.

Thong Types – G String, V String, C String

Thong Types

Thong Types include the traditional thong, the G string, V string and the C string.

Thong Types – G String

Thong Types – The G string style consists of a string of fabric – as opposed to a wider-than-thick strip – connecting the front/pouch and the waistband in the rear. It is also called a Rio thong. Since the mid 1920s female strippers and erotic dancers in the west have been referring to the style of thongs they wore for their performances as G string. The origin of the term G string is obscure.

Thong Types – A G string is a type of thong underwear or swimsuit, a narrow piece of cloth, leather, or plastic, that covers or holds the genitals, passes between the buttocks, and is attached to a band around the hips, worn as swimwear or underwear mostly by women, but also by men. The two terms G-string and thong are sometimes used interchangeably; however, technically they refer to different pieces of clothing. A g string is sometimes worn on beaches. G string are also worn by some go-go dancers.

Thong Types – V String

Thong Types – Similar to the G string, V String style connects via a single string along the rear that separates into two strings just at or before the waistband or into a small triangle of fabric above the buttocks but below the waistband can have tie sides like the T-back.

Thong Types – C String

Thong Types – As narrow as a G string but C String is without the band around the waist, leaving just a C shaped piece between the legs held in place firmly by a flexible internal frame. Since there is no material around the waist, the C string completely eliminates the panty lines which thongs and other underwear create. C string is also designed for use as beachwear, which reduces the tan lines that would have been left by the side straps of even a G-string.

Falak Naseem Resume – Looking for a Fashion Designer Job


Curriculum Vitae



Name     : Falak Naseem

Address : 1st floor, Soorya House, TC 1723-2 Elanjimoodu lane, Murinjapalam, Medical college, Trivandrum, Kerala.

Mobile: 9567242798

E-mail: falak.naseem@gmail.com



  • Seeking a position in the field of fashion and styling that offers professional growth where my creative initiative, ideas and genuine enthusiasm would allow me to progress and explore my capabilities and help me utilize my skills and abilities to the maximum.



  • Completed graduation in Fashion Design from Raffles Design International, Mumbai (2009-2012)
  • Diploma in Animation, Arena, Trivandrum, Kerala (2008)
  • 12th Grade with 84%, Christ Nagar H.S.S, Trivandrum, Kerala (2006-2007)
  • 10th Grade with 85%, Holy Angels Convent H.S.S, Trivandrum, Kerala (2005-2006)




MUMBAI (2009)


  • Worked for College Annual Fashion Show (Backstage)


  • Successfully participated in contest organized by Burn Curate at Lakme’ Fashion Week 2010


  • Worked at Tommy Hilfiger



  • Ms-Office (Word, PowerPoint), Adobe Photoshop, Macromedia Flash professional, Illustrator.


  • Strength   - Very hard working, loyal and friendly in nature.


  • Comprehensive problem solving abilities, excellent verbal and written communication skills, ability to deal with people, willingness to learn ,ready to work with team, hard worker, ability to adapt to the atmosphere of a business.


  • Name                            :    Falak Naseem
  • Father’s Name             :    Jaufar Naseem
  • Mother’s Name            :    Sameera Ali
  • Nationality                    :    Maldivian
  • Date of Birth                :    2nd November 1987
  • Hobbies                  :    Shopping, Sketching, Painting, Making Jewelry, Traveling, Music, Poetry, Swimming, Gaming.                                              
  • Languages Known    :   English, Hindi, Dhivehi.


                       I hereby declare that the above-mentioned information is correct up to my knowledge and I bear the responsibility for the correctness of the above-mentioned particulars.



Reference will be provided on request.

Textile, Apparel, Fashion, Beauty, Jewelry, Leather and Footwear

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