Beskrywings, foto's en patrone van verskillende kledingstukke wat tydens die Anglo-Boereoorlog gemaak is. Dis algemene kennis dat die kakies so genoem is as gevolg van die kleur van hul uniforms, maar aan die vraag oor hoe presies die kleredrag van Boerekrygers en gewone burgers tydens die Anglo-Boereoorlog dan gelyk het, word selde aandag bestee. Hierdie boek bied 'n interessante blik op 'n noodsaaklike alledaagsheid wat destyds veel komplekser was as wat vandag se verbruikerskultuur ons laat besef!

"What more glorious claim to fame could there be than Milliner to the Queen? ", asks Stephane Bern in his preface to this exclusive book marking the 30th anniversary of MAISON FABIENNE DELVIGNE. The book traces the exceptional career of Fabienne Delvigne, the Belgian entrepreneur, hat designer and craftswoman who creates highend luxury products. Across Europe, Fabienne Delvigne's designs sublimate the beauty of women. Her unique talent was recognised in 2001, when she gained the trust of the Belgian royal family, who awarded her the coveted title of Warrant Holder of the Court of Belgium. In this book, Fabienne casts a refined and joyful gaze on the world of fashion, and introduces us into her world, a world made up encounters, hard work, inspiring walks, and the joy of practising her craft every day. An original and exhilarating volume that not only looks back on the milliner's career, but also reveals a woman of character who defends an artistic heritage while being of her time. Since 2008, alongside her Haute Couture collections, she has designed, for each season, a Studio Collection composed of stylish, pret-a-porter hats. The body of the text? The words that helped her fashion her creative universe. The spirit moving that body? Passion, her passions. Anecdotes, recollections, previously unseen projects, a behind-the-scenes view of the creator's artistry, a look back on her collaborations with such leading companies as Guerlain and BMW, and, of course, hats to go mad for! This book has been released to mark the 30th anniversary of Maison Fabienne Delvigne, with forewords provided by Stephane Bern and Diane von Furstenberg. Readers will discover the passion that drives this Belgian entrepreneur, a perfectionist to the very tips of her scissors. A Warrant Holder of several European Courts, Fabienne also designs hats for all the elegantes who enter her Brussels boudoir workshop. Leafing through the book, readers will not fail to appreciate her unique and fascinating journey.

WINNER OF A CHOICE OUTSTANDING ACADEMIC TITLE AWARD 2018 In the early twentieth century, Marguerite Zorach and Georgiana Brown Harbeson were at the forefront of the modern embroidery movement in the United States. In the first scholarly examination of their work and influence, Cynthia Fowler explores the arguments presented by these pioneering women and their collaborators for embroidery to be considered as art. Using key exhibitions and contemporary criticism, The Modern Embroidery Movement focuses extensively on the individual work of Zorach and Brown Harbeson, casting a new light on their careers. Documenting a previously marginalised movement, Fowler brings together the history of craft, art and women's rights and firmly establishes embroidery as a significant aspect of modern art.

Alysn Midgelow-Marsden shows how to use both textile-based and mixed media techniques to create beautiful artworks using metal in the form of shim, foil and woven fabric alongside many other materials. She shares her expertise in an inspiring variety of techniques from free machine stitching to gilding, embossing, needle felting, beading, printing, applique, making stitched foil fabric and using dry decal transfer images. There are seven beautiful projects to inspire and instruct textile artists everywhere, including a lampshade, bauble pods, decorative panels and a tablet cover. Artists can take inspiration from the individual surfaces that make up the pieces, the completed projects, and from the developments from each project, which have full, instructive captions. This is an invaluable resource for textile artists looking for new and beautiful ideas. This book was previously published as part of the Textile Artist series.

uring the 1920s and 1930s, Phyllis Barron (1890-1964) and Dorothy Larcher (1882-1952) were at the forefront of a revival in hand block-printing in Britain. As designer-makers they formed a unique partnership, producing innovative textiles and seeing the entire process through from beginning to end. Using whatever materials they could muster - fabric ranging from balloon cotton to prison sheets and velvet, and everyday items such as combs and car mats for printing - and pushing the boundaries of what could be achieved with predominantly natural dyes, these two remarkable women ran a successful business that lasted from 1923 until the outbreak of World War II. Nearly one hundred years on, another special collaboration between the Craft Studies Centre in Farnham, Christopher Farr Cloth and Ivo Prints, has brought a selection of Barron and Larcher's work back into production. The warm welcome they have received across the globe is a testament to the timeless quality of great design.

"[A] 'greatest hits' riffing on Miuccia Prada's own obsessions with maid's uniforms, schoolgirl garb and twists on luxury."--Alexander Fury, AnOther Magazine This dazzling book "makes the perfect coffee-table book for style-savvy bibliophiles"--Los Angeles Times Founded in 1913 as a leather-goods house in Milan, Prada entered the field of fashion when Miuccia Prada took the helm of the company in 1979. After initially focusing on accessories, she presented the house's first fashion collection in 1988, quickly transforming Prada into one of the world's most influential luxury brands. Her deeply personal, sophisticated, and subtly subversive approach often works against the cliches of beauty and sexy as she strives, in her own words, to be "more clever, or more difficult, or more complicated . . . or more new." Published in collaboration with Prada to celebrate 30 years of trend-setting creations, this stunning volume offers a comprehensive and definitive history of the house. Organized chronologically, each of Prada's collections is introduced by a description of its influences and highlights and is illustrated with stunning catwalk images of models such as Naomi Campbell, Kate Moss, and Gisele Bundchen showcasing clothing, accessories, and beauty looks. With a biographical profile of Miuccia Prada and an extensive reference section, this handsome and well-researched retrospective reflects the passion, craftsmanship, and creative spirit that define Prada.

A spectacular visual journey through 40 years of haute couture from one of the best-known and most trend-setting brands in fashion Founded in 1962 by Yves Saint Laurent and his partner, Pierre Berge, the fashion house Yves Saint Laurent has for more than half a century been synonymous with excellence in modern and iconic style. From Yves Saint Laurent's revolutionary and enduringly popular tuxedo suit for women, le smoking, to iconic art-inspired creations, from Mondrian dresses to precious Van Gogh embroidery and the famous Ballets Russes collection, the house's haute couture line has been hugely influential in changing the way modern women dress. This definitive publication opens with a concise history of the house before exploring the collections themselves, organized chronologically and ending in 2002, the year that Yves Saint Laurent retired from the company he started. Each collection is introduced by a short text elucidating its influences and highlights and is illustrated with carefully curated catwalk images, each season styled as the designer intended and worn by the world's top models. The book showcases hundreds of spectacular clothes, details, accessories, beauty looks, and set designs.

Addressing textiles as a distinctive area of cultural practice and field of scholarly research, The Textile Reader introduces students to the key issues essential to the exploration of the textile from both a critical and a creative perspective. The second edition brings together lectures, catalogue essays, academic articles, fiction and poetry, as well as several articles available in English translation for the first time, to capture the diversity of voices informing textile studies today. Content is organized around the themes of touch, memory, structure, politics, and production plus a new section exploring the role of community. With 22 new contributors, this revised edition includes selected work from Maria Fusco, Ursula le Guin, Elaine Igoe, Faith Ringgold, and T'ai Smith. Extended introductions and annotated suggestions for further reading by the editor Jessica Hemmings make the second edition an invaluable resource to students of textiles, craft and material culture.

Essential in the everyday lives of all societies for providing protection and warmth, textiles also fulfill social, cultural, military, legal, and symbolic functions and have played a key role in the economic activity of societies from ancient times. This magnificent two-volume study brings together the leading experts on textiles from eight countries, ensuring authoritative coverage of the production and uses of textiles in western societies from the earliest times to the present day. With contributions from archaeologists, economic and social historians, historians of fashion and the history of dress, and museum curators, no other book offers the breadth of coverage of this one, in terms of time period, subject matter, or approach. The book's range and accessibility will ensure that it is a key reference for specialists and non-specialists alike. David Jenkins is Senior Lecturer in Economic History in the Department of Economics and Related Studies at the University of York. He is also Governor and Company Secretary of the Pasold Research Fund, which promotes research and publication in the history of textiles in the eighteenth, nineteenth and twentieth centuries. Jenkins has a special interest in the wool textile industry, where his major contribution is (with the late K.G. Ponting) The British Wool Textile Industry, 1880-1914 (Ashgate Publishing Company, 1982). For several years Jenkins was a member of Council and Honorary Secretary of the Economic History Society and is a member of the Editorial Board of Textile History.

The delightful patterns collected in this book, which have been created by talented designers from all over the world, are inspired by botanic shapes, the animal kingdom, geometry or abstract forms. The book presents the work of fifty designers who specialize in the field, and it includes interviews in which a selection of professionals share their design philosophy and work process. It focuses especially on home interiors, textiles, wallpaper, home accessories and fashion. Whether they are vibrant blooms or dazzling triangles, and whether they have a clean Scandinavian air or a delicate Japanese touch, the irresistible designs contained in this collection will offer the reader endless delight and heaps of inspiration for decoration and fashion fans and professionals.

Its dry climate means that Egypt boasts an exceptionally rich heritage of preserved ancient textiles. Since 1996, the international research group Textiles from the Nile Valley has been studying these Roman, Byzantine and early-Islamic textile artefacts, many of which have found their way into European and North American museum collections. The research group, consisting of curators, archaeologists, textile conservators and scientists, organises a biennial conference at Katoen Natie HeadquARTers in Antwerp, and publishes a series of unique books on the importance of Egyptian textiles. This latest volume brings together the findings from the 11th conference, which was held from 25 to 27 October 2019. The focus is on the history of textile excavating and collecting, which goes back to the late 19th century. The book contains 18 text contributions describing recent fieldwork, conservation treatments and scientific research worldwide, in collaboration with major universities and museums such as the Victoria & Albert Museum in London and the Hermitage in St. Petersburg. The book is being published to mark the 12th international scientific Textiles from the Nile Valley Conference, which is taking place from 12 to 14 November 2021 in Antwerp. Text in English and German.

Textiles and clothing are interwoven with Islamic culture. In Islamicate Textiles, readers are taken on a journey from Central Asia to Tanzania to uncover the central roles that textiles play within Muslim-majority communities. This thematically arranged book sheds light on the traditions, rituals and religious practices of these regions, and the ways in which each one incorporates materials and clothing. Drawing on examples including Iranian lion carpets and Arabic keffiyeh, Faegheh Shirazi frames these textiles and totemic items as important cultural signifiers that, together, form a dynamic and fascinating material culture. Like a developing language, this culture expands, bends and develops to suit the needs of new generations and groups across the world. The political significance of Islamicate textiles is also explored: Faegheh Shirazi's writing reveals the fraught relationship between the East - with its sought-after materials and much-valued textiles - and the European countries that purchased and repurposed these goods, and lays bare the historical and contemporary connections between textiles, colonialism, immigration and economics. Dr Shirazi also discusses gender and how textiles and clothing are intimately linked with sexuality and gender identity.

Focusing on a single Malian textile identified variously as bogolanfini, bogolan, or mudcloth, Victoria L. Rovine traces the dramatic technical and stylistic innovations that have transformed the cloth from its village origins into a symbol of new internationalism. Rovine shows how the biography of this uniquely African textile reveals much about contemporary culture in urban Africa and about the global markets in which African art circulates. Bogolan has become a symbol of national and ethnic identities, an element of contemporary, urban fashion, and a lucrative product in tourist art markets. At the heart of this beautifully illustrated book are the artists, changing notions of tradition, nationalism, and the value of cloth making and marketing on a worldwide scale.

Gabrielle Bonheur "Coco" Chanel (1883-1971) was undoubtedly the most influential fashion designer of the 20th century. Her clothes and accessories have remained perennially chic, and her legendary fashion house continues to exert a powerful sway over today's designers. Jerome Gautier tells the story of Chanel's iconic style through hundreds of images, many taken by the leading lights of fashion photography, including Richard Avedon, Gilles Bensimon, Patrick Demarchelier, Horst P. Horst, Annie Leibovitz, Man Ray, Helmut Newton, Irving Penn, and Ellen von Unwerth. This innovative volume pairs classic and contemporary photographs, placing fashion plates from Chanel's time alongside those by the house's designer-in-chief, Karl Lagerfeld. For instance, Cecil Beaton's portrait of Chanel appears alongside Lagerfeld's image of Cate Blanchett emulating her, and a classic plate by Henry Clarke flanks an arresting shot by Juergen Teller.

Through these dazzling photographs, "Chanel: The Vocabulary of Style" identifies key elements that have defined Chanel's style for generations, such as jersey and tweed, formerly considered menswear fabrics, and the little black dress, which transformed a hue previously reserved for mourning into a statement of elegance. Pearls were her staple, and she often embellished outfits with her signature camellia. Eleven chapters compare the original forms of these enduring trademarks with their later expressions over the years and to the present day, letting the vocabulary of Chanel's style speak for itself.

Renowned colour expert and quilt and fabric designer Kaffe Fassett explores flowers as a source of inspiration for patchwork and needlepoint in this new quilting guide and pattern collection. Along the way, he shares a behind-the-scenes look at his fascinating design process-from mood boards and "sketching" with colour swatches to planning and sewing the quilts. While the focus is on patchwork and needle point, the design and color ideas translate to many design disciplines and materials, including crafts, fiber arts, floral design and home decor. Accessible to all skill levels, the designs on each page will inspire you to see how much more colourful and alive your needlework, quilts and creative projects can be.

The Conservators of Ethnographic Artefacts organised a two-day workshop on barkcloth (tapa) that was tutored by Ruth Norman. The workshop took place on 2nd and 3rd of December 1997 at the Royal Albert Memorial Museum, Exeter. Following this successful workshop, a one-day seminar was held on December 4th 1997 at Torbay Museum, at which these eight papers were presented. Topics covered include: the preparation of tapa from Africa, the Pacific rim and Papua New Guinea; how to survey a collection of tapa and the points to look out for; the deterioration of tapa and the form that this deterioration takes; the effects of iron in the processes of deterioration; the conservation of tapa in the United Kingdom, Australia and the United States; the conservation of a Tahitian mourner's outfit; methods of displaying tapa.

An introduction to the design, production and use of luxury embroideries in medieval England (c. 1200-1530) In medieval Europe, embroidered textiles were indispensable symbols of wealth and power. Owing to their quality, complexity and magnificence, English embroideries enjoyed international demand and can be traced in Continental sources as opus anglicanum (English work). Essays by leading experts explore the embroideries' artistic and social context, while catalogue entries examine individual masterpieces. Medieval embroiderers lived in a tightly knit community in London, and many were women who can be identified by name. Comparisons between their work and contemporary painting challenge modern assumptions about the hierarchy of artistic media. Contributors consider an outstanding range of examples, highlighting their craftsmanship and exploring the world in which they were created. Published in association with the Victoria and Albert Museum

Anni Albers (1899 - 1994) was one of the most influential textile designers of the 20th century. Born in Berlin, in 1922 she became a student at the Bauhaus in Weimar, where she met her husband, Josef Albers. From 1933 to 1949 Albers taught at Black Mountain College. The fifteen essays gathered here illustrate Anni Albers's concept of design as the pursuit of wholeness -- "the coalition of form answering practical needs and form answering aesthetic needs." This beautifully illustrated book addresses the artistic and practical concerns of modern design and considers the ever-changing role of the designer.
Albers's work is in private collections and in those of leading museums both here and abroad. Among them are the Busch-Reisinger Museum at Harvard University, the Baltimore Museum of Art, the Museum Neue Sammlung in Munich, the Bauhaus Archiv in Berlin, and the Museum of Modern Art, Metropolitan Museum of Art, and the Cooper-Hewitt Museum in New York. Her previous books include On Weaving (1965) and On Designing (1961), both published by Wesleyan

New Mexico Colcha Club looks at the history, beauty, and various styles of New Mexico colcha embroidery, and tells the uplifting story of how a small group of determined women revived a cultural tradition destined for extinction. In the 1700s Spanish colonial women in the isolated province of New Mexico wanted to add beauty and warmth to their bedding. They worked their homespun yarn in a long couching stitch to create the flowing needlework that came to be called "colcha embroidery." Highly sought after and valued, a detailed embroidered piece could cost upwards of 46 pesos. (During the same time period, sheep and cows cost 2 and 15 pesos respectively). However, a century later colcha was on its way to oblivion. Like many traditional crafts, this beautiful and skilled artform was becoming obsolete as inexpensive and abundant commercial cloth, modern styles, and machine-made products became more desirable and available. Fast-forward to the 1920s and the Arte Antiguo, a colcha club founded by twelve Hispanic women in the Espanola Valley of New Mexico. Spearheaded by Teofila Ortiz Lujan and then later her daughter, Esther Lujan Vigil, these women heroically sought to rescue colcha and bring it back to its rightful place as a cherished custom. The women traveled to churches to examine vintage altar cloth, hunted through attics and archives in search of examples of the antique embroidery, and sketched old patterns--all in the hopes of keeping colcha from extinction and activating a revival of the embroidery. Esther Lujan Vigil, through her artwork and teaching, keeps the tradition alive and has elevated colcha from a folk art to a fine art. Divided into three sections, the first part of thebook traces the roots of the embroidery tradition and domestic life in colonial New Mexico. The second part looks at the Arte Antiguo's push in the early twentieth century to revive this lost art. The third part focuses on Esther Lujan Vigil's artistic skills and the renaissance of colcha embroidery today. New Mexico Colcha Club features historical and recent photographs of colcha work that demonstrate the beauty, intricacy, and diversity of this Old World custom. This inspirational and informative biography of colcha is folk art enlivened by social history. It is a must read for those interested in Spanish textile traditions and folk art, needlework, and New Mexico history.

A New York Times best art book of 2022 Traces the history of lace in fashion from its sixteenth-century origins to the present   Threads of Power: Lace from the Textilmuseum St. Gallen offers a look at one of the world’s finest collections of historical lace. It traces the development of European lace from its emergence in the sixteenth century to the present, elucidating its important role in fashion. The book explores the longstanding connections between lace and status, addressing styles in lace worn at royal courts, including Habsburg Spain and Bourbon France, as well as lace worn by the elite ruling classes and Indigenous peoples in the Spanish Americas.   Featuring new research, the publication covers a range of topics related to lace production, lace in fashion and portraiture, lace revivals, the mechanization of the lace industries in the nineteenth and twentieth centuries, and contemporary innovations in lace. With a focus on lace techniques, women lace makers, and lace as a signifier of wealth and power, this richly illustrated book includes wide-ranging contributions by curators and experts from major museums and academic institutions.   Distributed for Bard Graduate Center   Exhibition Schedule:   Bard Graduate Center, New York (September 16, 2022–January 1, 2023)

The Great Tapestry of Scotland is an outstanding celebration of thousands of years of Scottish history and achievement, from the end of the last Ice Age to Dolly the Sheep and Andy Murry's Wimbledon victory of 2013. The 1000+ stitches spent a total of 55, 000 sewing hours on the 160 panels that make up this extraordinary work of art. This book shows in full colour all the finished panels of the tapestry - one of the biggest community arts projects ever to take place in Scotland - together with descriptive and explanatory material on each panel and lists of all the stitchers involved.

This beautiful, practical guide to creating and embellishing embroidered boxes is written by Heather Lewis, a tutor with the Royal School of Needlework. It contains a history of the embroidered box, from the seventeenth century to the present day, and features techniques and guidance for needleworkers wishing to apply their skills to a practical application of the craft. There are three projects to try: a small treasure chest with a curved lid, embroidered dragonfly detail and a false floor; a hexagonal box with a beautiful embroidered lid depicting afternoon tea, and an intricate stumpwork casket with a mirror in the lid and a hidden drawer. Each has a template and extensive instructions for preparation, embroidery and construction.

"Hallum's painting is charged with delight in colour, line, surface and composition, in powerfully unconventional ways." - Hettie Judah This is the first monograph on the London-born, Devon-based artist Jacqui Hallum. The publication documents Hallum's solo exhibition at The Walker Art Gallery, Liverpool (10 October 2019 - 1 March 2020), along with a series of solo, two-person and group exhibitions held between 2014 and 2020. Hallum is best-known for her mixed-media paintings on textiles - techniques she has developed and refined over the course of twenty years since completing her studies. Incorporating imagery and visual languages ranging from medieval woodcuts and stained-glass windows to Art Nouveau children's illustrations, tarot cards and Berber rugs, Hallum employs ink staining, painting, drawing and printing to create layers of pattern, abstraction and passages of figurative imagery. As part of her working process, Hallum often leaves the fabrics in the open air, exposed to the elements, in order to introduce weathering into the works. History, religion, mysticism and the beliefs and creativity of past civilisations are among the themes that overlap - often in a literal sense of pieces of fabrics layered, pinned, draped and hung together - to form painterly palimpsests that carry a sense of the past with them into the present. Along with a foreword by Professor Caroline Wilkinson, Director of the School of Art and Design at Liverpool John Moores University, and an introductory essay by artist, curator and director of Kingsgate Workshops and Project Space in London, Dan Howard-Birt, the publication features newly commissioned essays by arts journalist and critic Hettie Judah and by Andrew Hunt, Professor of Fine Art and Curating at the University of Manchester. Also featured is the edited transcript of a conversation between Hallum and Howard-Birt held at The Walker Art Gallery, Liverpool. Jacqui Hallum (b.1977, London) graduated with a BA in Fine Art from Coventry School of Art& Design, Coventry University, in 1999, and an MFA in Painting from the Slade School of Fine Art, University of London, in 2002. Hallum's solo exhibition at The Walker Art Gallery followed a three-month fellowship at Liverpool John Moores University, which resulted from winning the prestigious John Moores Painting Prize in 2018. The monograph, designed by work-form and edited by Susan Taylor, has been produced by Kingsgate Project Space and co-published with Anomie Publishing.

This step-by-step introduction to grading combines the theory of pattern grading with its practical applications. After presenting the x, y orientation to familiarize readers with the concepts of computer grading and using the Cartesian graph, the text takes a holistic approach, integrating anthropometry, size specifications, and grade guides into the grading process for women's garments with emphasis on maintaining fit and style sense. New to this Edition: - Expanded discussion of computer grading technology including Optitex, Gerber, Lectra, and Tukatech software - 20% new end-of-chapter exercises - Includes more than 200 illustrations and 85 tables for grade rules, measurement charts and garment specifications - Added discussion on grading from specifications and development of tolerances - Instructor's Guide and Test Bank provide answers to exercises, completed and blank grade rule tables, grade charts for different base sizes and projects for further research Concepts of Pattern Grading STUDIO: - Study smarter with self-quizzes featuring scored results and personalized study tips - Review concepts with flashcards of terms and definitions - Practice your skills with extra exercises

In this beautifully designed and illustrated volume, leading craft scholars, curators and artists come together to assess the post-War history and contemporary flourishing of craft in America. Their critical gaze encompasses craft practice by artists, professional makers, and amateurs; crafting as it takes place in the studio and in the domestic space, and as it is exhibited in museums and galleries; craft that uses materials and crafting in the digital arena, and critical issues confronting craft such as industry, education and digitization.