Textiles connect a variety of practices and traditions, ranging from the refined couture garments of Parisian fashion to the high-tech filaments strong enough to hoist a satellite into space. High-performance fabrics are being reconceived as immersive webs, structural networks and information exchanges, and their ability to interface with technology is changing how the human body is experienced and how the urban environment is built. Today, textiles reveal their capacity to transform our world more than any other material. "Textile Futures" highlights recent works from key practitioners and examines the changing role of textiles. Recent developments present new technical possibilities that are beginning to redefine textiles as a uniquely multidisciplinary field of innovation and research. This book is an important tool for any textile practitioner, fashion designer, architect, interior designer or student designer interested in following new developments in the field of textiles, seeking new sustainable sources, or just eager to discover new works that reveal the potency of textiles as an ultramaterial.

Quilting, once regarded as a traditional craft, has broken through the barriers of history, art and commerce to become a global phenomenon, international multi-billion dollar industry and means of gendered cultural production. In Quilting, sociologist and quilter Marybeth C. Stalp explores how and why women quilt.
This close ethnographic study illustrates that women's lives can be transformed in often surprising ways by the activity and art of quilting. Some women who quilt as a leisure pastime are too afraid to admit to being a quilter for fear of ridicule; others boldly identify themselves as quilters and regard it as part of their everyday lives.
The place of quilting in women's lives affects core family and personal identity issues such as marriage, childcare, friendship and aging. The book's accessible and intimate portrayal of real quilters' lives provides a fabric for the sociology, anthropology and textile student to understand more about wider issues of cultural production and identity that stem from this very personal pastime.

This is the Spanish-language edition of The Unbroken Thread. Housed in the former sixteenth-century convent of Santo Domingo Church-now the Regional Museum of Oaxaca, Mexico-is an important collection of textiles representing the area's indigenous cultures. The collection includes a wealth of exquisitely made traditional weavings, many that are now considered rare. The Unbroken Thread: Conserving the Textile Traditions of Oaxaca details a joint project of the Getty Conservation Institute and the National Institute of Anthropology and History (INAH) of Mexico to conserve the collection and to document current use of textile traditions in daily life and ceremony. The book contains 145 color photographs of the valuable textiles in the collection, as well as images of local weavers and project participants at work. Subjects include anthropological research, ancient and present-day weaving techniques, analyses of natural dyestuffs, and discussions of the ethical and practical considerations involved in working in Latin America to conserve the materials and practices of living cultures.

An ancient time brought to life by textiles
 
While the monumental sculptures of ancient Egypt are more widely known, the simple pleasures of life as it was lived are better portrayed in textiles, which carried designs commemorating the joys of festivals, food, and dancing.  Weavings from  Roman, Byzantine and Islamic Egypt  presents 103 full-color images of the astonishing textile collection of Rose Choron, featuring rare examples from Egypt’ s Coptic Christians as well as the Islamic period.
 
Dating primarily from the third to seventh centuries, these hand-woven fabrics showcase colorful images of dancers, haloed saints with hands raised in prayer, and a plethora of flowers and animals evoking the bountiful ecology of the Nile Delta. Some display Arabic inscriptions celebrating divine power, and all offer insights into a lost world: people’ s dress, their interior decoration, and their view of their relationship with the natural and supernatural worlds.
 
Eunice Dauterman Maguire explains the work by providing a rich historical and mythic context, as well as detailed technical explanations. This volume also features a preface by Rose Choron herself, explaining the origins of the collection and the source of her fascination with the textiles.

The late Donald King (d. 1998) was the founding father of textile studies in England. His knowledge of the technology and history of textiles of all periods across many lands remains unsurpassed. An erudite and yet modest scholar, he did much to promote the academic understanding of textiles, both in this country and abroad. His role as Keeper of Textiles in the Victoria and Albert Museum, allowed first-hand technical analysis of a large number of medieval and later textiles over a very wide range of techniques. This laid the foundations for his abiding interest in textile techniques, which was allied to his fascination with textile terminology as it appeared in documentary sources. Much of his museum scholarship found its way into publications such as the Victoria and Albert Museum Bulletin and Hali magazine. From 1977 onwards, as President of C.I.E.T.A. (the International organisation for the study of early textiles), he led a powerful lobby of textile specialists, including all the major museum keepers of textiles across the globe. His scholarship during this period was well represented through detailed and erudite articles of technical, art historical and contextual significance, published in the C.I.E.T.A. Bulletin. His twin role as scholar and textile keeper represented the meeting of the academic and the museum worlds across textile studies. This publication gathers together for the first time a representative selection of Donald King's scholarship, in seventeen studies written and published over the period 1960-1999. Seven of the papers are grouped to illustrate the wide range of techniques across which he was able to publish (woven IX; embroidered X, XI; tapestry XII; printed XIIIand pile/carpet techniques XIV, XV). Three further papers (II, III, VIII) illustrate his tremendous facility for close technical analysis of his materials, whilst his linguistic gifts, which allowed him to solve the intricate puzzles posed by textile terminology used in medieval sources, are celebrated in four further papers (IV-VII). Study II shows how he integrated these different avenues of approach into the intricate textile method that he developed. Two more papers have been included, to illustrate Donald King's notable ability to communicate his enthusiasm and expertise about textiles to a wide audience. The study entitled 'Magic in the Web' (XVII) was designed to engage the general public and it was received with tremendous enthusiasm both as a lecture and as a published piece. The paper on 'Early Textiles with Hunting subjects in the Keir collection', (I) served both the academic and the museum world, and it illustrated for the connoisseur what could be learnt by those engaged in building up private collections of medieval textiles.

The basic principles of the flat-pattern method are the foundation of producing effective apparel designs. Principles of Flat-Pattern Design, 4th Edition, maintains its simple and straightforward presentation of flat-patternmaking principles which is proven to be less intimidating for beginning students. Numbered and fully illustrated steps guide students through a logical series of pattern manipulation procedures, each beginning with a flat sketch of the design to be developed and ending with a representation of the completed pattern. A significant expansion of the introductory chapters in this 4th Edition aligns the patternmaking process with current industry practices, including technological advancements, design analysis, and production basics such as grading, marker making, and specifications.

Lace was a passion of Leopold Ikle (1838-1922), scion of a Hamburg textile dynasty who successfully produced machine-made embroidery over the course of the industrial boom in St. Gallen around 1900. He exported to England, France and the United States, among other places, at a time when St. Gallen was the market leader in the lace industry. Ikle's collection of handmade European bobbin lace and needlepoint from the sixteenth to the nineteenth century originally served as inspiration for his firm's textile designers. Through his passion for collecting, however, it quickly surpassed the practical demands of a simple pattern collection, and in 1904 he donated it to the Textile Museum St. Gallen. Historische Spitzen provides a comprehensive review as well as highlights of the lace samples in this unique collection. Text in German.

The so-called chasuble of Thomas Becket (1118-1170) is one of the most magnificent medieval textiles in the Mediterranean region. Richly decorated with ornaments, fabulous animals and figures in lavish gold embroidery with Arabic inscriptions, this precious liturgical garment provides impressive proof of the reutilisation of the Islamic arts in the Christian world. Venerated as a relic of St Thomas of Canterbury, the chasuble was produced in Spanish-Muslim workshops and probably reached Italy as a donation to the Cathedral of Fermo in about 1200. Despite its outstanding artistic quality and fascinating history, this magnificent garment has never hitherto been the subject of a detailed study. Richly illustrated with numerous details, this volume investigates the meaning of the inscriptions and motifs, examines manufacturing techniques and the function of the chasuble, traces its "biography" and places it within the historical context of the political, economic and cultural situation in the Mediterranean region.

This beautiful and accessible book will deepen the understanding of anyone who loves textiles. It explores woven textiles thematically, through the work of contemporary artists and designers. Some make their art from unwoven threads, the raw material of which textiles are born. Others use digital technology so that elements of light, sound, and even motion are literally woven in the fabric. An excellent resource for everyone with an interest in contemporary woven textiles, this book features work by the following international selection of artists and designers: Gabriel Dawe, Ball-Nogues Studio, Susie MacMurray, Laura Thomas, Sue Lawty, Lauren Moriarty, Elana Herzog, Tamar Frank, Marianne Kemp, Dashing Tweeds, Hiroko Takeda, Christine Keller, Hilde Hauan Johnsen, Sarah Taylor, Astrid Krogh, Priti Veja, Salt, Ainsley Hillard, Philip Beesley, Maria Blaisse, Barbara Layne, Zane Berzina, Maggie Orth, Elaine Ng Yan Ling, Lucy McMullen, Philippa Brock, Grethe Sorensen, Christy Matson, Lars Preisser, Lise Frolund and Hanne Raffnsoe, Elin Igland, Alyce Santoro, Drahomira Hampl, Nadia-Anne Ricketts, Eleanor Pritchard, Aleksandra Gaca, Ismini Samanidou, Louise Bourgeois, Ane Henrikesen, Shane Waltener, Jeroen Vinken, Liz Williamson, Lucy Brown, Janine Antoni, Lia Cook, Petter Hellsing, Runa Carlsen, Wallace & Sewell, Ptolemy Mann, Missoni Home, ao for Gainsborough, NUNO Corporation, Norwegian Rain, Soukaina Aziz El Idrissi, Suzanne Tick, Travis Meinolf, and Anne Wilson.

Chloe Colchester's up-to-the-minute survey reveals a diverse, exciting and provocative field, one at the vanguard of extraordinary technological developments while also the source of astonishing works of beauty. From colour-changing, light-sensitive camouflage to emergency shelters of cement-impregnated fabric bonded to an inflatable plastic, from Eley Kishimoto's gorgeous patterns to the astonishing colours of Morphotex, this dazzlingly fresh sourcebook of original and inspiring designs will appeal to all designers and anyone with an interest in textiles.

Textile Technology and Design addresses the critical role of the interior at the intersection of design and technology, with a range of interdisciplinary arguments by a wide range of contributors: from design practitioners to researchers and scholars to aerospace engineers. Chapters examine the way in which textiles and technology - while seemingly distinct - continually inform each other through their persistent overlapping of interests, and eventually coalesce in the practice of interior design. Covering all kinds of interiors from domestic (prefabricated kitchens and 3D wallpaper) to extreme (underwater habitats and space stations), it features a variety of critical aspects including pattern and ornament, domestic technologies, craft and the imperfect, gender issues, sound and smart textiles. This book is essential reading for students of textile technology, textile design and interior design.

The artistic works by Sabine Groschup, a student of Maria Lassnig, range from painting, textile art and cinematic creations to sculptural pieces, literature and photography as well as spatial, video and sound installations. In her Augsburg solo exhibition "DER DOPPELTE (T)RAUM" (the Double Dream), Groschup presents her multifaceted work on a specially created, surreal stage. Real space and dream oscillate and merge into one another. This sets in motion a tense interplay between reality and dream, which is the focus of the artist's creative oeuvre. The essays collected here - by Silvia Eiblmayr, Katja Gasser and Peter Weibel, among others - help the reader to decipher and classify this oeuvre. First comprehensive presentation of Groschup's extensive and diverse artistic oeuvre. Presentation of the aesthetically unique, surreal stage scenario of the Augsburg exhibition Exhibition tim Augsburg June 29, 2022-October 9, 2022

A hundred years after the fall of the Ottoman Empire, the Museum Funf Kontinente is showing the special exhibition In trockenen Tuchern! Gewebtes und Besticktes aus dem Osmanischen Reich [A Stitch in Time! Woven and Embroidered Textiles from the Ottoman Empire]. The accompanying publication provides an insight into the different aspects of inhabitants' life during the Late Ottoman Empire, based on selected textiles and everyday items from the collections of the Museum Funf Kontinente as well as the private collections of Ther and Middendorf. Together with their rural counterparts featuring woven red and blue patterns, the napkins and hand towels from the 18th to 20th century, artistically embroidered with blossom, fruits, or architectural elements, accompanied people from cradle to grave and bear impressive witness to their craftsmanship. Today these textile objects are a significant part of the cultural legacy of Turkey. Text in German with partial Turkish translation.

This volume brings together research into the process of commercialization of the folk crafts of Thailand: the conditions of its emergence, the parties involved in its development, the changes in the processes and organization of production which accompany it, the channels through which commercialized craft products are marketed, the nature of the audiences they reach, and the transformations in appearance and meaning which the products undergo as a result of their commercialization. The first part of the book explores the commercialization of hill tribe textiles, particularly those of the Hmong refugees from Laos. The second part presents a series of case studies of the various ways in which the products of lowland Thai "craft villages" became commercialized.

This updated edition of Volume 2 of the Photographic Guide catalogues the North American Indian baskets accessioned at the Peabody Museum between 1990 and 2004. Basket photographs and descriptions are grouped by geographic region and tribal affiliation. All catalogue information, including collection date, description of the basic technology used, provenience, function, materials, and maker, is specified when known. The guide serves as a valuable tool and stimulus for further research into North American Indian baskets, of which the Peabody Museum holds more than 3,000 examples.

Housed in the former sixteenth-century convent of Santo Domingo Church, now the Regional Museum of Oaxaco, Mexico, is an important collection of textiles representing the area's indigenous cultures. The collection includes a wealth of exquisitely made traditional weavings, many now considered rare. This book details a joint project of the Getty Conservation Institute and the National Institute of Anthropology and History (INAH) of Mexico to conserve the collection. The book contains 145 color photographs as well as a wealth of information on weaving, cultural contexts, and conservation issues.

Common Threads explores ideas of artistic identity and memory contained within the narrated stories of ten textile artists. It reveals how individuals bring a sense of linearity to fragments of memory and create a cohesive sense of self through telling their life's story.By employing a systems model, the author constructs new ideas of interrogating identity and art practice. The model, "Constructing Personal Narratives", brings into focus the hermeneutic circle of learning, and identifies the importance and need to provide opportunities for lifelong learning. The stories told by the participants who returned to the formal education sector later in life reveal the profound effects adult learning had upon their lives. The writer reveals how the model generated the interview questions that provided the rich biographical content that emerged within dialogues.The common threads of experience and feelings of the ten participants and the author are revealed, and from these emerge deepened understandings of both the place of stories within our lives and how stories can further an understanding of what it means to be an artist. Emerging from these stories are implications for teaching practice; these are presented as observations and questions in terms of how educators should be part of the learning experience with those they educate.