A notecard set celebrating the extraordinary post-war textile artist Ayako Miyawaki. This all-occasion notecard set contains twelve of her most stunning applique works inspired by cooking and gardening. This captivating notecard set features the work of Japanese applique artist Ayako Miyawaki, who emerged after WWII determined to make art. Using scraps of handwoven cloth from around her house, she elevated everyday objects-just pulled garlic, a crab to be cooked for dinner-into stunning stunning textile art.

For hundreds of years, skilled craftspeople in the Syrian centers of Aleppo, Damascus, and Homs produced intricately woven textiles for the royal courts, worldly merchants, and elite Bedouin families of the Ottoman Empire. City dwellers were renowned for wearing brightly colored silk garments that glittered with gold and silver threads. By contrast, nomadic Bedouins wore woolen garments in hues and designs reflecting their desert lifestyle. The allure of these garments stems from the technical virtuosity with which they were woven and the aesthetic beauty of their drape and stylized designs. Dressed with Distinction offers a window onto the history of textile production in the Middle East during the late nineteenth and early twentieth centuries, until political and social changes led to the dominance of Western-style commercially manufactured attire. In addition to articulating the social and seasonal contexts in which the garments were worn, this book examines the styles of dress of women, men, and children in Ottoman Syria, including cloaks (abaya), head coverings (hatta), women's body coverings (carsaf), and jackets (qumbas).

Anne Bardsgard grew up in Selbu and has always had a close relationship with her hometown and its rich knitting history-her relentless interest in the traditional mittens that made Selbu famous worldwide became the groundwork for her first book, the stunning all-in-one historical reference, design compendium and mitten pattern guide Selbu Mittens. Now she's back to delve into the wider realm of sweaters, cardigans, socks, and hats with this companion collection: over 450 motifs that can be adapted and combined using any of the foundational garment patterns included, based on extensive and thorough documentation of photographs, drawings, and preserved samples of historical knitted items from Selbu. The result is a unique and unequaled look into the traditional knitting culture of the Selbu region-and an endlessly inspiring pattern resource.

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.

A detailed study of Tudor textiles, highlighting their extravagant beauty and their impact on the royal court, fashion, and taste At the Tudor Court, textiles were ubiquitous in decor and ceremony. Tapestries, embroideries, carpets, and hangings were more highly esteemed than paintings and other forms of decorative art. In 16th-century Europe, fine textiles were so costly that they were out of reach for average citizens, and even for many nobles. This spectacularly illustrated paperback edition tells the story of textiles during the long Tudor century, from the ascendance of Henry VII in 1485 to the death of his granddaughter Elizabeth I in 1603. It places elaborate tapestries, imported carpets and lavish embroidery within the context of religious and political upheavals of the Tudor court, as well as the expanding world of global trade. Special attention is paid to the Field of the Cloth of Gold, a magnificent two-week festival held in 1520. Even half a millennium later, such extraordinary works remain Tudor society's strongest projection of wealth, taste, and ultimately power. Published in association with Historic Royal Palaces

In an era of increasingly available digital resources, many textile designers and makers find themselves at an interesting juncture between traditional craft processes and newer digital technologies. Highly specialized craft/design practitioners may now elect to make use of digital processes in their work, but often choose not to abandon craft skills fundamental to their practice, and aim to balance the complex connection between craft and digital processes. The essays collected here consider this transition from the viewpoint of aesthetic opportunity arising in the textile designer's hands-on experimentation with material and digital technologies available in the present. Craft provides the foundations for thinking within the design and production of textiles, and as such may provide some clues in the transition to creative and thoughtful use of current and future digital technologies. Within the framework of current challenges relating to sustainable development, globalization, and economic constraints it is important to interrogate and question how we might go about using established and emerging technologies in textiles in a positive manner.

A long-overdue reassessment of one of the most important and influential woman artists working at midcentury Anni Albers (1899-1994) was a German textile designer, weaver, and printmaker, and among the leading pioneers of 20th-century modernism. Although she has heavily influenced generations of artists and designers, her contribution to modernist art history has been comparatively overlooked, especially in relation to that of her husband, Josef. In this groundbreaking and beautifully illustrated volume, Albers's most important works are examined to fully explore and redefine her contribution to 20th-century art and design and highlight her significance as an artist in her own right. Featured works--from her early activity at the Bauhaus as well as from her time at Black Mountain College, and spanning her entire fruitful career--include wall hangings, designs for commercial use, drawings and studies, jewelry, and prints. Essays by international experts focus on key works and themes, relate aspects of Albers's practice to her seminal texts On Designing and On Weaving, and identify broader contextual material, including examples of the Andean textiles that Albers collected and in which she found inspiration for her understanding of woven thread as a form of language. Illuminating Albers's skill as a weaver, her material awareness, and her deep understanding of art and design, this publication celebrates an artist of enormous importance and showcases the timeless nature of her creativity.

The patchwork is an apt metaphor for the region not only because of its colourfulness and the making of something whole out of fragments but as an attempt to make coherence out of disorder. The seeking of coherence was the exact process of putting together this book and foregrounds the process of Caribbean societies forging identity and identities out of plural and at times conflicting and contested groups that came to call the region home. Within the metaphor of the patchwork however is the question, where are the vernacular needlework artists within the visual art tradition of the Caribbean? The introduction sets out to both clarify and rectify this situation, and several common themes flow through the following essays and interviews. Themes include that that the land and colonization remain baseline issues for several Caribbean artists who stage and restage the history of conquest and empire in varying ways. That artists in the region amalgamate as part of their practice and seem to prefer an open-endedness to art making as opposed to expressing fidelity to a particular medium. That artists and scholars alike are dismantling long-held perceptions of what Caribbean art is thought to be, and are challenging boundaries in Caribbean art. These are among the issues addressed in the book as it looks at ecological concerns and questions of sustainability, how the practices of the artists and their art defy the easy categorization of the region, and the placement of women in the visual art ecology of the Caribbean. The latter is one of the most contested areas of the book. Readers should come away with the sense that questions of race, colour, and class loom large within questions of gender in the Jamaican art scene and that the book, dedicated to Sane Mae Dunkley, aims to insert vernacular needleworkers into the visual art scene in both Jamaica and the larger Caribbean. Audience will include researchers and scholars of Caribbean and African diasporic art, college students, those interested in post-colonial studies, Caribbean artists, art professionals interested in a wider, globalized view of contemporary art; students curious to know about the many phases of art production throughout the Caribbean. General readers interested in the culture of the region.

"It's an evocative, inspiring mood board of a book." - Andreina Cordani, Reclaim Magazine "Decorating with flowers - on everything from walls and windows to sofas and floors - will bring magic and romance to any space." - Mail on Sunday's You Magazine In the designs of Tricia Guild, atmosphere is everything. Patterns, colour, texture, furniture and furnishings interweave to create spaces that have all the depth and meaning of installation art. Yet just as an outfit never feels complete without a spritz of scent, a room without plants is only nearly complete. Only nearly perfect. At Designers Guild, Tricia Guild uses flowers, leaves and stems to enhance a room's mood, bringing soul to the spaces we live in. A flower has many spirits over the course of its life, from the promise of those first pristine and innocent buds, to the resplendent joy of full blooms and the wistful glory as they fade. The cycle of nature provides an ever-evolving muse for Tricia Guild. Her latest book explores how blooms can evoke emotion, presenting a plethora of inspirational designs that breathe fresh life into our homes and workspaces.

The best new research on medieval clothing and textiles, drawing from a variety of angles and approaches. The essays in this volume continue the Journal's tradition of groundbreaking interdisciplinary work. The volume opens with a survey of the discipline of medieval clothing and textiles, written by founding editor Gale R. Owen-Crocker. The range of the other essays extends chronologically from the early Middle Ages through the fifteenth century and covers a variety of disciplines. Topics include the conception of the author as a "wordweaver" in the literatures of Anglo-Saxon England; intertextual literary identities established through clothing in the Nibelungenlied and the Voelsunga Saga; the historical record of clothing and textiles at the court of King John of England; medallion silks, their use in Western Europe, and their representation in art; the vestments of Beguines and other penitential movements in the thirteenth and fourteenth centuries; and a depiction of heraldic textile weaving inlate-medieval art. Contributors: Tina Anderlini, Joanne W. Anderson, Maren Clegg Hyer, Alejandra Concha Sahli, Gale R. Owen-Crocker, Elizabeth M. Swedo, Hugh Thomas

Winner of the Best Books on Devon's History: Academic Award from the Devon History Society A richly illustrated exploration of the national and international importance of the early modern Exeter cloth trade. This book reproduces a newly discovered manuscript detailing the exports of Claude Passavant, a Swiss emigre merchant. Passavant's dispatch book comprises the most extensive surviving collection of Devon cloth with 2,475 surviving cloth samples. Thirteen chapters discuss the local and wider contexts of eighteenth-century cloth making. This study explores the quality, range, and vibrancy of cloth that lead to Exeter becoming an internationally renowned centre for the manufacture and trade of woollen cloth.

This book follows the creative process of designing and printing textile patterns, from the initial sourcing of ideas to the final high-quality creation. It provides ideas and practical information at a level easily accessible to textile students and designers, but also to novices who would like to learn more. Throughout, the text is enhanced by an exciting range of images, from historical surface-pattern designs and textiles to the work of contemporary designers. Topics include advice on generating ideas and expressing them visually; a cultural and historical background to surface-pattern design; experimental methods of working from paper onto fabric; and practical details on fabrics, equipment, and techniques for dying and printing. June Fish teaches at London's Central St. Martins College for Art and Design.

Now available in a compact paperback edition, this book remains the most comprehensive survey of African textiles on the market today, illustrating in over 570 spectacular colour photographs the traditional, handcrafted, indigenous textiles of the whole continent. Covering, region by region, the handmade textiles of West, North, East, Central and Southern Africa, African Textiles outlines the vast array of techniques used as well as the different types of loom, materials and dyes that help to create these sumptuous textiles. With a useful glossary and map, a guide to collections open to the public, and suggestions for further reading, this book provides a wealth of information on the rich art of African 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.

This title will present an overview of the core textiles techniques: applique; printing onto fabric; stencilling; fabric painting; dyeing; quilting and patchwork; batik; embroidery (hand and machine); felt-making; weaving; silk painting; fusing and bonding fabric; and mark-making. Each chapter will be packed with unique ideas demonstrating different ways to use the technique as you are learning. Perfect for fashion and textile students, or anyone with a passion for creative textiles. The cheapest and easiest methods for each technique will be explained, and where possible the author will cover methods for working on textiles at home, without expensive equipment. Format will be strictly practical and step-by-step, with tools and working techniques fully explained and illustrated.

Over the last four decades, the fashion modeling industry has become a lightning rod for debates about Western beauty ideals, the sexual objectification of women, and consumer desire. Yet, fashion models still captivate, embodying all that is cool, glam, hip, and desirable. They are a fixture in tabloids, magazines, fashion blogs, and television. Why exactly are models so appealing? And how do these women succeed in so soundly holding our attention? In This Year's Model, Elizabeth Wissinger weaves together in-depth interviews and research at model castings, photo shoots, and runway shows to offer a glimpse into the life of the model throughout the 20th and 21st centuries. Once an ad hoc occupation, the "model life" now involves a great deal of physical and virtual management of the body, or what Wissinger terms "glamour labor." Wissinger argues that glamour labor-the specialized modeling work of self-styling, crafting a 'look,' and building an image-has been amplified by the rise of digital media, as new technologies make tinkering with the body's form and image easy. Models can now present self-fashioning, self-surveillance, and self-branding as essential behaviors for anyone who is truly in the know and 'in fashion.' Countless regular people make it their mission to achieve this ideal, not realizing that technology is key to creating the unattainable standard of beauty the model upholds-and as Wissinger argues, this has been the case for decades, before Photoshop even existed. Both a vividly illustrated historical survey and an incisive critique of fashion media, This Year's Model demonstrates the lasting cultural influence of this unique form of embodied labor.

In recent years, the study of textiles and culture has become a dynamic field of scholarship, reflecting new global, material and technological possibilities. This is the first handbook of specially commissioned essays to provide a guide to the major strands of critical work around textiles past and present and to draw upon the work of artists and designers as well as researchers in textiles studies. The handbook offers an authoritative and wide-ranging guide to the topics, issues, and questions that are central to the study of textiles today: it examines how material practices reflect cross-cultural influences; it explores textiles' relationships to history, memory, place, and social and technological change; and considers their influence on fashion and design, sustainable production, craft, architecture, curation and contemporary textile art practice. This illustrated volume will be essential reading for students and scholars involved in research on textiles and related subjects such as dress, costume and fashion, feminism and gender, art and design, and cultural history. Cover image: Anne Wilson, To Cross (Walking New York), 2014. Site-specific performance and sculpture at The Drawing Center, NYC. Thread cross research. Photo: Christie Carlson/Anne Wilson Studio.

The wide range of sixties fabric designs reflected the transition from the comforting tranquility of the early years to the bolder, more "hip" end of the decade. Funky Fabrics of the 60s takes you on a nostalgic tour of pastel and splashy florals, patchwork calicos, denims and stripes, wild abstract geometrics, and neon paisleys. Whether you admired Jackie Kennedy's elegant style or danced barefoot in a peasant dress as a "flower child", this full color book with hundreds of designs will bring back memories of a unique time.