Reasons to buy Wholesale from us

Our store in New York City has a huge variety of wholesale apparel & fashion fabrics which include linen solids and prints, wools tropical solids and blazer weight, silk prints, rayon prints, poly chiffon prints, poly georgette prints, poly satin solids, poly charmeuse satin solids and much more. We have a full stock of prints and solids, stretch and non-stretch.

As fabric wholesaler we bring you top quality closeouts and excess fabrics from major manufactures and mills for 25% 75 % below wholesale prices.

If you’re in New York City shopping for wholesale fabrics please make sure to visit our store. We’ll be happy to show you our complete selection of top quality wholesale fabrics.  

Buy Wholesale Fabrics ( Wholesale Fabric )

ALLstarFabric.com specializes in gorgeous retail Draperies and designer fabrics at wholesale fabric prices. Our online fabric store slogan and philosophy is “We only look expensive”. We have supply relationships with all the wholesale fabric mills in the United States and Western Europe. For our fabric stores we order our wholesale fabric in large bolt size lots from the wholesale fabric mills direct and we bypass all the middlemen and jobber and pass the saving directly to our customers.

To order or buy our Wholesale Fabrics ( Wholesale Fabric ) by:
All of our wholesale fabric is only first quality by our strict standards which are above the industry norm for first quality. All of our wholesale fabrics are suitable for banquet fabric projects and drapery fabric projects as well as bedding pillows and slipcovers. Our in-house design team uses our decorator fabrics or projects of all kinds. Fabric selection is very important.

When selecting a particular style of wholesale fabrics for draperies or upholstery it is the room architecture and in particular the style and proportion of the windows and their surrounds that provide the restraining element in a choice that would otherwise be almost limitless. This is after all the existing framework and is unalterable unless you are amenable to major restructuring. Provided that the structure you have is sound and generally comfortable to love with wholesale fabric is best used as the starting point for draperies.

As a general rule where to stop drapery fabrics in terms of length is a decision that leaves many people wondering or puzzled. Again as a general rule that will help in such situations is the wholesale fabric should be floor length unless the window is very small. The shape of a drapery made from wholesale fabrics will be determined by the treatment. One option is narrow decorator fabric with closely arrange pleats of designer fabric. An invaluable aid that fabric online fabric shop uses to see how a drapery falls is a humble tie-back.

Tie-backs can be simply a means by which the Drapery made of wholesale fabric NYC is taken off the window when drawn back and maximizing light and preventing the weight of the drapery from pulling down on the rod or the pole. However for a tie-back that will truly hug the curtain becoming an integral part of the whole effect rather than a mimic band you should opt for rope ties. Most styles of drapes can be made with any wholesale fabrics.

The choice of the particular discount fabric you may choose from any online fabric shop can be made into any style. The choice of wholesale fabric combined with the fixture style will do more that anything else to determine the overall effect of the fabric. Wholesale fabrics are tremendously versatile. For a dramatic effect or a large single window inexpensive discount fabrics can look wonderful over a drapery pole in numerous small folds that fall in one cascade to the floor The same wholesale fabric used as a pair of sheer curtains behind a heavier richer main drapery fabric can achieve the softness required to dispense light from a window with the main Bed Linen fabrics a combination of designer fabric with contrasting colors or textures under or within a arrangement can enrich the whole effect. Contrasting colors of decorator fabric may look dramatic or start yet classical

Whether your needs are for hotel bed linens, hospitality bed linens, or institutional linens, we offer them all. They are available in many different shapes, sizes, colors and fabrics to suit your needs.

ALL STAR Fabrics is your first source of hotel supplies and hospitality supplies for quality discount bed linens.

As your wholesale bed linen supplier, we are committed to providing top of the line hospitality linens at very competitive prices. You will be pleased with our selection, prices, and service.

Please feel free to browse our online bed linen store, or contact ALL STAR Fabrics for more information on our wholesale bed linens.

New York is pure energy. You’ve seen the towering skyscrapers, the bustling traffic and bright lights in the movies. The Big Apple is home to the world’s finest museums, most diverse restaurants, and top rate music and entertainment. Infinite sidewalks lead to café-lined streets, unique designer stores, and the green grass hills of Central Park. The spring you feel in your step is just one reason why this is the world’s favorite city.

New York City is small in size but big in numbers. It’s the most densely populated city in North America with 8 million citizens on just 830 km2 of land. It’s always been a city of immigrants, and even today about one third of its citizens are foreign born. Roughly 138 languages are spoken here, and vibrant new ethnic enclaves pop up all over the city, offering visitors interesting cultural and culinary experiences.

While the city pulses with the blood of its newest residents, old New York is still alive and well. Opera still bursts from the venerable stage of Lincoln Center; Wall Street, the hive of capitalism, still bustles with the excitement and tension of the stock market; and the stately apartments of New York’s wealthy still frame majestic Central Park. New York City is made up of five boroughs: The Bronx, Brooklyn, Manhattan, Queens, and Staten Island. Mostly when people speak of New York they mean Manhattan.  Buy Wholesale Fabrics NYC

Visitors with a little extra time on their hands should pay a visit to Brooklyn. Though once considered dangerous, New York has cracked down on street crime and is now one of America’s safest cities. The best way to see it is to walk. Numbered streets in Manhattan make navigation easy. Streets run from east to west, and avenues intersect from north to south (uptown and downtown).

New Yorkers are friendly and talkative (contrary to their reputation) and nearly every night of the week the city’s bars and clubs are crowded with revelers. There are several universities in New York ( New York University, Columbia University in the City of New York )  which contribute to keeping the city young. See Complete List of New York City Universities

The three basic forms associated with tensioned fabric structures are the hypar (hyperbolic paraboloid), the cone, and the barrel vault. The hypar, or simple saddle, is often a square or rectangular form in plan that in elevation is a series of high and low points. Mast- and point-supported structures are cone forms. Arch- and frame-supported structures, in which the membrane is supported by a compression member, are barrel vaults.

Determining Boundaries

The second step of the design process is to determine the boundaries of the tensioned fabric, which is referred to as the membrane. Boundaries include frames, walls, beams, columns, and anchor points. The fabric is either continuously clamped to frames, walls, or beams, or attached to columns and anchor points with membrane plates with adjustable tensioning hardware.

Membrane plates are custom designed plates used to link the membrane and edge cables to the structural supports. In most cases the fabric forms a curved edge, or catenary, between connection points, requiring a cable, webbing belt, or rope to carry loads to the major structural points.

Catenary describes the scalloped edge shape of the boundary of a uniformly stressed fabric structure attached only at specific end points or nodes. Catenaries are usually curved inward 10 to 15 percent of the total length of the span.

The cable, belt, or rope is usually inserted in a cable cuff, an edge treatment created either by folding the edge of the material over itself to form a pocket, or by attaching a ready-made pocket along the edge. The shallower the curve along the perimeter, the more tension there is in the cable and ultimately in the overall structure and foundation.

Very high-tension loads require a cable-strap treatment, which consists of a continuous clamping of the edge with a series of steel or aluminum straps spaced at specific intervals to support a cable that cannot be inserted in a cable cuff. Cable straps can increase the cost of a fabric structure substantially.

Form-Finding

Once the primary points have been determined, the next step is form-finding, or the art and engineering of ascertaining the most efficient structure that can be fabricated with as little waste as possible. In form-finding, it is just as important to design a structure that can be easily transported and installed.

There are two methods of form-finding: physical modeling and computer-aided design. Fabric structures may be visualized with physical models or full-scale prototypes, depending on the complexity of the design. Models are created by stretching nylon stockings over wire frames. Working with physical models or prototypes enables the designer to view the structure from any angle.

However, most fabric structures today are modeled with sophisticated computer software programs. These programs allow the designer to create a three-dimensional model that can be viewed at various angles; they also allow customization to provide information for facilitating fabrication and installation.

The programs can calculate the amount of fabric required; the dimension of each fabric piece; the size and length of structural members; the size, length, and tension of cables; and the necessary hardware. With a software program, the designer can modify the shape more easily than with a physical model.

Structural Analysis

The last step in the design process is analysis of the structure’s response to loads, including dead loads and live loads, such as snow, wind, people, and equipment. Structural analysis identifies areas of possible ponding (water collecting on a flat area) and shows where high stresses are located on the structure. The analysis enables the designer to determine reactions, size structural members and cables, determine the appropriate fabric, and create computer-generated cutting patterns.

Computer patterning is the process of developing a two-dimensional representation of a three-dimensional membrane surface. Patterns are created after receiving results of a biaxial test of the specified materials done by the fabricator or provided by the manufacturer to determine the compensation factors required for the specific project. A biaxial test is the testing of a membrane in both the warp (threads running the length of the roll goods) and fill (threads running across the width) directions to calculate the expansion of the material under a given loading condition.

Compensation factors are the reduction made to a cutting pattern to allow for the expansion of the membrane once in tension. In some cases, decompensation — addition made to the length of a piece of the membrane that was shortened by compensation — is required to meet certain geometric conditions, such as fixed points, where there is no access for tensioning. The panels are sized according to the width of the fabric being used.

Materials

Today’s architectural fabrics are composites of woven substrate fiber protected by an applied coating or polymers of films and laminates. New fibers — primarily nylon, polyester, polyethylene, and fiberglass — have been developed to meet the need for materials with high strength, long life spans, and a high modulus of elasticity. The woven substrate provides the basic tensile strength of the material and its resistance to tearing. The finish coating applied to the substrate material seals the fabric against weather and dirt, provides resistance to UV light, serves as a medium for joining panels, and incorporates fire-resistant properties.

The most important quality in choosing material for a fabric structure is its fire resistance. National Fire Protection Association (NFPA) 701 is the most common fire test for textiles and films. The American Society for Testing and Materials (ASTM) is another recognized standard for a wide range of materials, and ASTM E-84, 108, and 136 are common tests related to fabrics for membrane structures.

The latest architectural fabrics used for a building envelope respond to heat and light much differently than previous generations of fabric did. They also offer features and benefits different than conventional construction materials.

Architectural fabrics can be manufactured to vary in translucency from one to 95 percent and, in thermal resistance, from that of a single pane of glass to that of a conventionally insulated structure, while still maintaining adequate daylighting. A fabric roof can be a source of interior light at night if artificial light is directed onto its highly reflective surface.

Fabric Selection

The performance of today’s architectural fabrics depends on the weaving pattern, choice of substrate, and coating. Each composite has unique properties and characteristics that suit it to different applications. Most materials presented have a minimum of stretch and shrinkage in a wide range of temperature and humidity conditions, and coatings prevent mildew, staining, and streaking.

Choice of a material calls for understanding of its light reflectivity and light transmission. Reflectivity is the amount of light the surface of the material reflects. Transmission is the amount of light that penetrates the material. Most fabrics allow some amount of light transmission, but some materials come with a blackout scrim between layers and allow no light to penetrate, so light and heat from the sun can be controlled.

All the materials come in some shade of white; some are also available in a limited range of colors, depending on supply and demand. The proper selection of membrane material will be based on the proposed size, form, function, and desired longevity of the structure, and the economics of the project.

Membrane Fabrication

Membranes can be fabricated in a number of ways based on the material chosen and the orientation of the seams. All aspects of a fabric structure should be derived from the same computer model or full-scale mockup. Computer-generated patterns are the most widely accepted template for fabrication. Smaller structures, such as awnings, are patterned directly off a full-scale mockup.

Seams determine the appearance of joined panels. The seams can be sewn, glued, electronically welded, or heat-sealed. Seam styles can be parallel or radial to a mast. Butt seams are joints produced by placing two adjacent pieces directly beside one another and covering the joint with a strip of material. Lap seams are joints made by overlapping the edges of the material.

Reinforcements — multiple layers of material applied to specific areas of a membrane to strengthen it where concentrated tension loads exist — are also a part of the fabrication process and differ from project to project.

What’s consistent, though, is appreciation for the female body.

“Seduction,” a new exhibit at The Museum at the Fashion Institute of Technology, puts 19th century bustles next to Rudi Gernreich’s microminis of the 1960s as it explores how women have strategically covered their bodies in hopes that admirers will imagine what’s underneath.

The curator, Colleen Hill, says fashion has adopted three different muses to worship — one who is romantic, one who is sultry and the serious sexpot.

An opening vignette features three lingerie looks, equally alluring: Lace-trimmed camisole knickers in a pastel green silk that grazes the body would have been worn under a flapper dress in the 1920s; a naughty black lace girdle set from the 1950s creates the then-desired hourglass; and a peacock-print, no-wire bra and panties from the 1960s are all about natural beauty.

“The idea of `seduction’ isn’t always the what we typically think of as sexy,” says Hill. More important than how much skin is exposed or if a garment is made of stretch lace or patent leather is if you’re left wanting to see more, she says.

As an industry, fashion caught on to this early. A pale green evening gown from 1818 featured in the exhibit has an eye-attracting, low-cut neckline as well as an empire waist, which acted like an early push-up bra, while the bustles of the Victorian era, normally seen as a prudish period, actually helped define the shape of the leg.

Some key looks, depending on what catches your fancy:

Romantic is a style that embraces femininity with light, pretty colors, airy fabrics and probably a little bit of lace.

_Alternating light-colored panels on the bodice of an otherwise rust satin gown from 1785 created the illusion of bareness. It’s also very tightly formed to the body, with all the necessary foundations built in.

_The softness of the green velvet used for a 1830 Victorian is highly feminine — and the low decolletage, surrounded by lace, is an obvious reminder of a woman’s ample assets.

_A 1949 pale-pink blossom dress by Ceil Chapman is very girlie with petal-like ruffles, but it’s silhouette actually includes a tight strapless bodice. “It’s unfurling,” says Hill.

_The pink bow at the waist of a black Balenciaga cocktail dress from 1957 is what softens an otherwise lingerie-inspired look. It’s perfect for a femme fatale — sort of salty mixed with sweet.

_Olivier Theyskens’ wedding gown for Rochas from 2004 is the “ultimate fairytale gown” with its pouffy ballskirt, flower appliques and glittery fabric, Hill says, but the tease of the wedding night comes from its lingerie-inspired bodice.

Sultry is an unfussy style that embraces mystery and a sophisticated glamour.

_The peek-a-boo effect of lace at the neck and shoulders makes a salmon-colored dress from 1903 both socially acceptable and still sexy. The Edwardian times favored a statuesque women with an S-curve built into the foundation of the clothes, arching a woman’s back and pushing out both her bust and rear.

_In addition to the bold color, the suggestive fringe on a 1925 red satin flapper dress by Lenief forms a V from the hip to the hemline would be sure to grab attention, yet the garment provides full coverage without a glimpse of skin.

_A 1935 Muriel King yellow silk charmeuse dress is cut on the bias to reveal body shape like few other silhouettes. During the ’30s, flesh-tone fabrics also became quite popular, making you think you were seeing something you were not.

_Halston surely had the seductive starlet in mind for a 1972 ice-blue jersey goddess gown. She could cover up the plunging neckline with the slinky, self-tie belt — but probably wouldn’t.

Sexy is for the woman who’s got it — and wants to flaunt it.

_Sheer fabric at the neckline as well as pintucks on the bust of a 1865 off-the-shoulder gown immediately draws attention. There’s also tassels on the arm, which also get the wearer noticed while she’s moving through the ballroom, and the cage-style crinoline occasionally gives a glimpse of the ankle.

_”This is overtly sexy. He molded women into his perfect hourglass,” Hill says of Charles James’ 1952 navy satin evening dress. There’s a soft, draped peplum at the bottom of a corset-style top, while the bottom creates a slim cocoon around the legs.

_From the front and back, a 1968 black jersey trapeze-style miniskirt by Rudi Gernreich wasn’t the designer’s most obviously sexy look — he did the topless bathing suit in 1964 — but the sides of the dress are vinyl giving a clear view of everything underneath.

_A power suit with sex appeal by Theirry Mugler from 1987. A woman could show off her aerobicized body in the lace-up black corset with a softer draped skirt in a sheer green jersey.

_John Galliano’s 2000 black-leather evening gown for Christian Dior has a fetish effect, says Hill, not only because of it’s lace-up back but also because it appears slightly disheveled, as if the wearer has had a wild night.

Much like the Italian-born “Slow Food” movement against fast food, the homogenisation of taste, and the saving of tradition, “Slow Wear” involves a return to basics, buying quality over cheap stuff, and saving the planet.

“A consumer revolution is afoot, beginning even before the crisis,” trendspotter Martine Leherpeur said this week at a top fashion trade fair, Paris Pret-A-Porter.

“Bling-bling is on the wane, people now want sustainable quality products that last for more than six months,” she told AFP. “And a key concern for today’s consumers is the origin of a product, to know where it was made and exactly how.”

There is little question that ethical fashion — involving fair trade practices as well as recycled and organic products — still remains a niche phenomenon. Of the 1,100-odd designers and labels attending the Paris fair, only 60 carried the ethical label.

But there is little question also that the demand for sustainable ethical garb is on the up and up. At the same fair only three years ago, no more than 20 labels from across the globe flew the eco-friendly flag of ethical correctness.

Veteran green-friendly British company Komodo, set up two decades ago by a backpacker with a love for Asia and a taste for fabrics, now turns over a couple of million euros a year with clothes spun and stitched by 500 people in Kathmandhu and 300 in Bali.

“There is a growing eco-business out there countering the unstoppable flow of mass-produced cheap-and-nasty stuff from places like China,” said Joe Komodo. “We keep cottage industries alive, our people use scissors.”

And a French maker of fine though expensive cashmeres, who can vouch for the living conditions of the original goat, the length and quality of the fibre, and dyes that have little impact on the environment, has seen business boom over the last two years.

“There is a growing ethical consciousness, women want quality and want to know the origin of what they buy,” said Lara Bruneau-Laure, of La Fee Parisienne.

Her “sustainable” sweaters vary from 300 to 1,000 euros a shot, a far cry from the cheaper cashmeres imported from Asia, yet they sell. “People are buying less but buying better,” she said.

The global crisis had put the accent on quality rather than quantity as well as bolstering a trend towards responsible buying of ethical fairtrade products, said the head of economic research at the French Institute of Fashion.

“Consumers are going for fashion items that are unique and different and for sustainable pieces made of fine fabrics,” said Evelyne Chaballier. “It’s as if slow fashion and fast fashion were hand-in-hand.”

Handmade pieces as well as natural fabrics are among the big winners of Slow Wear, with big thick woolly numbers on a comeback for autumn/winter 2009/2010 in what some trendwatchers are calling a taste for “covering” during the cold of the crisis.

And special guest artist at the Paris fair this week was none other than a hand-knitter from Tokyo, Tomoko Toki, who with a pair of needles and lots of yarn knits anything from bags to rings to giant lampshades.

“We have so many machine-made products that now handmade is popular,” said the founder of Mokely Knitting Installation. “We’re sick of the digital age.”

The idea of antiquing conjures up images of period-piece furniture and ornate accessories. From refinishing a tabletop to fixing the knobs of a dresser to polishing old silver, most people have brought at least one unique piece from the past back to modern life. But rarely do people think of bedroom linens as key collectibles. Here’s how to re-fresh your bedding with linens from long-ago.

When Beth Harlow owner of The Painted Lady in Chicago, looks for pieces for her store she puts her feelers out for fabrics. “We carry different lines of bedding but I always pick up vintage pieces for the store when I see them.” For Harlow, the key to warm home decorating comes from mixing past with present. “A brand new white duvet combined with a vintage quilted pillowcase or sham adds texture and timeless style.”

Favoring an all white bedroom look, Harlow brings the different years and origins together by keeping colorless. “Newer crisp cottons look lovely next to vintage linens.” Prefer a more diverse pallet? Look for vintage pieces adorned with embroidered flowers in pinks and blues for a color blast from the past.

Graphic designer Janet McCaffrey, owner of Primrose Design in Scott Township, Pa., which sells pillows made from vintage fabrics, loves older designs from the 1940s. “I’m continually surprised at how colorful and modern some of them are for their age. I have nothing against modern fabrics, but vintage fabrics just have an aura about them.” Using similar color patterns, she likes to mix different patterns to create unique combinations. “Basically, you want to start with one fabric then pick up some of the secondary colors with your other fabrics. Maybe take a floral print, then mix it up with stripes or polka dots pulled from the little bits of color in the smaller flowers or leaves.”

Finding the balance between bland and busy, Harlow prefers understating color but overstating layers. “The bottom of a bed becomes a great place to add texture and mix different fabrics. Place a 13-inch bed skirt atop a 20-inch bed skirt. Opt for a new, sheer organdy material, and layer with a vintage quilted piece for a two-tiered bed skirt.”

For McCaffrey, accessorizing her pillows with vintage items is a must. “Vintage buttons are the icing on the cake in my creations,” McCaffrey says. “I love the brightly colored plastic buttons, many of them flower-shaped, from the ’40s and ’50s and use them often on my pillows, handkerchief sachets and tissue cozies. Lately, I’ve been stacking them on top of one another for even more color. “Finding the treasure trunk of bed linens proves to be difficult at times. More than likely the thrift shops won’t have vintage linens on a consistent basis but once in a while you hit the jackpot. Harlow recalls, “I once found a vintage Ralph Lauren eyelet bedding set. Complete from the bed skirt to the pillowcases, it was a beautiful collection. And to think I walked away with it all for under $10.” It might not pop out at you, but keeping your eyes open pays off.

McCaffrey loves to search flea markets and antique malls – “There’s nothing like being able to see and touch fabrics in person,” she says. “Several times I’ve found bags full of scraps at flea markets and those are great for patchwork quilts.” Whether you stumble upon your antique bed accessories or search high and low for months, after purchase and before use, prioritize a thorough cleaning for these pieces from the past. “Another reason I prefer all white vintage bedding comes from cleaning it all,” confesses Harlow. Her home remedy? “I fill up the machine with water, use a cup of detergent, half a cup of bleach and a cup of Cascade powder dishwashing detergent. Soak for an hour and then wash as usual.” With colored pieces do the same but sans the bleach.

Vintage doesn’t have to come in the form of furniture. Keep your bedding as an option for antiques. When you look to the past to fill your future nights suddenly sharing sheets never sounded so good.

Shirley Reiff Howarth, director of the Humanities Exchange in Canada, inspects Raoul Dufy’s “La Corrida” dress before display at the Mississippi Museum of Art Tuesday. This dress was created with Dufy fabric by designer Christian Lacriox.

DETAILS ä Raoul Dufy: A Celebration of Beauty ä Mississippi Museum of Art Feb. 7 – July 5 ä For more information: (601) 960-1515 http://www.msmuseumart.org” target=”_blank”>www.msmuseumart.org

The phrase “art exhibit” often brings to mind images of paintings displayed in a pleasing visual fashion. The latest exhibit at the Mississippi Museum of Art is not limited to works placed within a frame, however.

Raoul Dufy: A Celebration of Beauty opens Saturday at the MMA’s downtown location. While Dufy’s paintings include several well-known pieces, the exhibit also includes some of his work in textile designs, woodcuts and his efforts in fabric, which were used by French dress designer Paul Poiret in numerous items.

Shirley Reiff Howarth of Montreal, curator for this exhibition, was able to organize the pieces through her work as director of the Humanities Exchange, a non-profit organization which acts as liaison in coordinating international exhibitions. The exhibit has already been in Japan and is scheduled for Luxembourg, Germany next.

“It’s an opportunity to see the versatility of Raoul Dufy; he’s primarily been known as a painter, but he’s one of the most important of the 20th century artists,” Howarth said. “But he’s also a book illustrator, he designed tapestries, did around 4,000 fabric designs. The special emphasis on this design is on not only his watercolors and paintings, but also his fabric designs. Half of the works in this exhibit relate to his work with the fabric silk company of Bianchini-Ferier, based in (France) and in existence for over 150 years.”

Original gowns using his fabrics and designed by French couturiers such as Mongi Guibane and Christian LaCroix will be featured. In addition, Bianchini-Ferier has made available to the Mississippi Museum of Art fabric featuring Dufy’s designs for use in the fabrication of additional dresses to add a contemporary look to the displays.

The variety played a part in the museum’s interest in acquiring the traveling exhibit.

“We were very excited (to gain this exhibition). It’s such a great opportunity to show something that’s esteemed within the art world but also really widely appealing to a broad audience,” said Betsy Bradley, director of the museum. “It’s very colorful and the images are very accessible.”

Robin C. Dietrick, curator of exhibitions at MMA, said she took personal interest in this exhibit because of her enjoyment of his works.

“We first started talking about doing this show a little over a year ago,” Dietrick said. “I heard that the show was available and Dufy has always been one of my favorite artists. Shirley and I have been on the phone at least twice a week for a year, and we’ve ended up publishing our own version of the (exhibit) book, so there was a lot of collaborating and organizing of the different projects.

“You can’t see any of this; you can’t go to Europe in, say, two years and see these pieces in a museum. They’re all from private collections, so this is the only chance you have to see anything in the show, to see it as a whole – and there are more than 200 objects in the show.”

In addition, Bradley said that items made from some of Dufy’s actual fabrics will also be available in the museum’s gift shop, some of which have been made specifically for this exhibit.

“He was a very original artist and he used a very personal style that he developed over many years,” Howarth said. “The more you look at it, the more you appreciate his extraordinary sense of color and his ability in his use of lines. You see more and more every time you look at it.”

All Star Fabric Store is the online fabric store for Wholesale Fabrics. Unlike fabric chains such as Hancock Fabrics or JoAnn Fabrics, Wholesale Fabrics is a family business ran by long-time industry executive we spent his career in the decorator and designer fabric business and has used his experience and connections to create an online fabric store that truly brings wholesale fabric prices direct to the public. Fabric by Color