This beautiful and inspirational book written by a doyenne of British textile design explores the art of painting and making patterns on cloth. Fabrics bring colour and vibrance to our lives, adding inventiveness and charm to both our clothes and our domestic interiors. In this book, lifelong textile designer Sarah Campbell takes you through her world of pattern and colour to uncover the joys of design from dots, stripes and checks to more surprising decorative solutions. Beautifully illustrated with Sarah's colourful and internationally acclaimed work, her fabric designs show the comforting rhythm and universal language of pattern. - Learn how to create your own unique designs using a range of tools and techniques including brushes and potato-cuts, stencils and simple 'kitchen cupboard' resists. - Explore the delights of painting on different fabrics such as cotton, linen, silk and calico/muslin. - Develop your understanding of scale, colour, tonality and the organisation of pattern ideas, alongside suggestions on how to use your finished fabrics.

A colourfully illustrated guide to the traditional and contemporary textile skills of hooking, prodding, punching and tufting, to fire your imagination, and to discover ideas for eco-friendly crafting. - Contains 20 vibrant step-by-step projects exploring playful design and quirky creativity, including rugs, cushions, bags and personal accessories. - Conserves resources through imaginative re-use of all kinds of materials - from recycled clothing, food packaging and plastics, to junk jewellery and surplus yarn. - Includes examples of community projects and an inspirational gallery of work by notable artists from around the world.

The design revolutions of the early 20th century were woven into the very fabric of the carpets and rugs of that era. Carpets of the Art Deco Era, previously published as Art Deco and Modernist Carpets and now reissued in PLC, is the first in-depth history on the subject. It charts the evolution of carpet design out of the floral effusions of the Victorian salons and into the angular elegance of Art Deco and bold abstraction of Modernism popularized by the machine age. Such artists and designers as Picasso, Poiret, Gray, Delaunay, Matisse, Klee, and many more advanced the designs going on underfoot, making these rugs extremely collectible artworks in their own right. Generously sized and beautifully illustrated with over 250 colour photographs, here are Art Deco carpets at their most glorious.

This book examines a group of sixteenth- and seventeenth-century figural silks depicting legendary lovers from the Khamsa (Quintet) of epic Persian poetry. Codified by Nizami Ganjavi in the twelfth century, the Khamsa gained popularity in the Persian-speaking realm through illustrated manuscripts produced for the elite, creating a template for illustrating climactic scenes in the love stories of "Layla and Majnun" and "Khusrau and Shirin" that appear on early modern silks. Attributed to Safavid Iran, the publication proposes that dress fashioned from these silks represented Sufi ideals based on the characters. Migration of weavers between Safavid and Mughal courts resulted in producing goods for a sophisticated and educated elite, demonstrating shared cultural values and potential reattribution. Through an examination of primary source materials, literary analysis of the original text, and close iconographical study of figural designs, the study presents original cross-disciplinary arguments about patronage, provenance, and the socio-cultural significance of wearing these silks.

Louisiana Coushatta Basket Makers brings together oral histories, tribal records, archival materials, and archaeological evidence to explore the fascinating history of the Coushatta Tribe's famed basket weavers. After settling at their present location near the town of Elton, Louisiana, in the 1880s, the Coushatta (Koasati) tribe developed a basket industry that bolstered the local tribal economy and became the basis for generating tourism and political mobilization. The baskets represented a material culture that distinguished the Coushattas as Indigenous people within an ethnically and racially diverse region. Tribal leaders serving as diplomats also used baskets as strategic gifts as they built political and economic allegiances throughout the twentieth century, thereby securing the Coushattas' future. Behind all these efforts were the basket makers themselves. Although a few Coushatta men assisted in the production of baskets, it was mostly women who put in the long hours to gather and process the materials, then skillfully stitch them together to produce treasures of all shapes and sizes. The art of basket making exists within a broader framework of Coushatta traditional teachings and educational practices that have persisted to the present. As they tell the story of Coushatta basket makers, Linda P. Langley and Denise E. Bates provide a better understanding of the tribe's culture and values. The weavers' own ""language of baskets"" shapes this narrative, which depicts how the tribe survived repeated hardships as weavers responded on their own terms to market demands. The work of Coushatta basket makers represents the perseverance of traditional knowledge in the form of unique and carefully crafted fine art that continues to garner greater recognition and appreciation with every successive generation.

For courses in Textile Science, Textile Fundamentals, Introduction to Textiles, Textiles for Interiors, or other courses that focus on basic textiles. A revered resource, Textiles, Elevnth Edition, by Sara Kadolph, provides students with a basic knowledge of textiles, how they are produced and how appropriate performance characteristics are incorporated into materials and products. Organized according to the textile production process, the text provides a solid understanding of textile components-including fibers, yarns, fabrics, and finishes. Using new full-color photos and illustrations, it examines the interrelationships among these components and their impact on product performance. This edition features coverage of new fibers, updated industry and company examples and summary tables that make this a timeless resource for any industry professional. Also discusses the new effects of sustainablity in the industry.

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.

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.

Rejecting traditional notions of what constitutes art, this book brings together essays on a variety of fiber arts to recoup women's artistic practices by redefining what counts as art. Although scholars over the last twenty years have turned their attention to fiber arts, redefining the conditions, practices, and products as art, there is still much work to be done to deconstruct the stubborn patriarchal art/craft binary. With essays on a range of fiber art practices, including embroidery, knitting, crocheting, machine stitching, rug making, weaving, and quilting, this collection contributes to the ongoing scholarly redefinition of women's relationship to creative activity. Focusing on women as producers of cultural products and creators of social value, the contributors treat women as active subjects and problematize their material practices and artifacts in the complex world of textiles. Each essay also examines the ways in which needlework both performs gender and, in turn, constructs gender. Moreover, in concentrating on and theorizing material practices of textiles, these essays reorient the study of fiber arts towards a focus on process"the making of the object, including the conditions under which it was made, by whom, and for what purpose"as a way to rethink the fiber arts as social praxis.

Celebrates the earliest history of the Islamic world's great textile traditions through fifty beautiful carpets and fragments. A wave of these beautiful textiles has reached the West since the turn of the 21st century, and here they are divided into variants featuring birds, mammals, and mythological creatures, which retain their glowing colors and lively charm.

An evocative exploration of how travel - local and far away - can inform, inspire and enhance textile art. Travel has always featured heavily in textile art, from artists’ ‘travelling sketchbooks’ to large-scale installations mapping coastal erosion or the effects of climate change. In this book, renowned textile artist Anne Kelly shows how to capture your travels, past and present, in stitch, with practical techniques sitting alongside inspiring images. She begins the book by discussing maps in textile art, including their iconography as well as incorporating actual maps into textile work. She then goes on to explore the influence of different cultures from across the globe on textile art. From India and Peru to Scotland and Scandinavia, the book shows how to harness traditional techniques, fabrics, motifs and colours for use in your own work. The chapter ‘Stopping Places’ captures the moments in time on a journey that can be distilled, remembered and documented to create stitched postcards, sketchbooks and other pieces. The final chapter, ‘Space and the Imagination’, explores the possibilities of space travel as a source of inspiration, and covers inner space too, with artists mapping their own emotional journeys. Including a wealth of practical tricks and techniques as well as exquisite photography of both Anne’s own work and that of other leading textile artists, this fascinating book will inspire all textile artists, embroiderers and makers to use past travels to influence their work.

This book interprets the fiber art and craft-inspired sculpture by eight US and Latin American women artists whose works incite embodied affective experience. Grounded in the work of Gilles Deleuze and Felix Guattari, John Corso-Esquivel posits craft as a material act of intuition. The book provocatively asserts that fiber art-long disparaged in the wake of the high-low dichotomy of late Modernism-is, in fact, well-positioned to lead art at the vanguard of affect theory and twenty-first-century feminist subjectivities.

This is the first dedicated book to concentrate on textiles as a major commodity, and primary indicator of status, wealth and identity in Indian Ocean regions. The volume considers the importance of trade, and the transformation of the meaning of objects as they move between different cultures; it also addresses issues of gender, ethnic and religious identity, and economic status. The book covers a broad geographic range from East Africa to South-East Asia, and references a number of disciplines such as anthropology, art history and history. This volume is timely, as both the social sciences and historical studies have developed a new interest in material culture.

In New York, Jason Nazmiyal has a rug collection like no other. For the past three decades, interior designers and collectors have flocked to his Manhattan gallery to source art for the floor, be it a treasured antique classical carpet, an elegant Art Deco rug, or a Scandinavian minimalist piece. This book delves into the history of the handmade carpet across the world, before looking at the many ways rugs can be used to bring together interiors in a variety of styles. From a Mid-Century Modern residence to a contemporary urban sanctuary and a classic Upper East Side apartment, there is a rug for every space. With stunning interior photography and full of practical advice for the professional decorator as well as the amateur enthusiast, this publication is a useful and beautiful addition to the library of anyone with an interest in interior decoration.

This collection of fifteen papers ranges from the author's initial interest in the Tapestry as a source of information on early medieval dress, through to her startling recognition of the embroidery's sophisticated narrative structure. Developing the work of previous authors who had identified graphic models for some of the images, she argues that not just the images themselves but the contexts from which they were drawn should be taken in to account in 'reading' the messages of the Tapestry. In further investigating the minds and hands behind this, the largest non-architectural artefact surviving from the Middle Ages, she ranges over the seams, the embroidery stitches, the language and artistry of the inscription, the potential significance of borders and the gestures of the figures in the main register, always scrutinising detail informatively. She identifies an over-riding conception and house style in the Tapestry, but also sees different hands at work in both needlecraft and graphics. Most intriguingly, she recognises an sub-contractor with a Roman source and a clownish wit. The author is Professor of Anglo-Saxon Culture at The University of Manchester, UK, a specialist in Old English poetry, Anglo-Saxon material culture and medieval dress and textiles.

The Grammar of Pattern describes characteristics of textile and other surface patterns, and identifies, illustrates, and reviews a wide range of pattern types including spotted, striped, checked, tessellating and other types of all-over patterns with original drawings and images. This book includes original black-and-white line drawings and color images. The modular nature of patterns is explored, and attention is focused on the vast diversity of pattern types which can emerge from a small inventory of components. The book features material that is easily accessible with obvious mathematical content kept to a minimum and offers fresh perspectives on the nature of tessellating and other all-over patterns. This book serves as an effective practical guide for both students and professionals. Select sample exercises and student assignments are included, making this an ideal course text for teachers engaged across the full range of design education.

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.

Wallpaper's spread across trades, class and gender is charted in this first full-length study of the material's use in Britain during the long eighteenth century. It examines the types of wallpaper that were designed and produced and the interior spaces it occupied, from the country house to the homes of prosperous townsfolk and gentry, showing that wallpaper was hung by Earls and merchants as well as by aristocratic women. Drawing on a wide range of little known examples of interior schemes and surviving wallpapers, together with unpublished evidence from archives including letters and bills, it charts wallpaper's evolution across the century from cheap textile imitation to innovative new decorative material. Wallpaper's growth is considered not in terms of chronology, but rather alongside the categories used by eighteenth-century tradesmen and consumers, from plains to flocks, from China papers to papier mache and from stucco papers to materials for creating print rooms. It ends by assessing the ways in which eighteenth-century wallpaper was used to create historicist interiors in the twentieth century. Including a wide range of illustrations, many in colour, the book will be of interest to historians of material culture and design, scholars of art and architectural history as well as practicing designers and those interested in the historic interior.

Create the Cosplay Dress of Your Dreams Design and sew a ballgown fit for cosplay royalty! A crucial part of any cosplayer's wardrobe, the right ballgown can transform you into an elegant princess or a dramatic sorcerer. But it takes more than just magic to create jaw-dropping gowns and ball-worthy dresses. Follow along with world champion cosplayers Cowbutt Crunchies as they walk sewists of all skill levels through building a ballgown with all the flourishes. This book contains everything you need to know about silhouette, planning, patterning, construction, corsets, hoop skirts, and trims. Craft your own magical fairytale masterpiece from start to finish! - Curtsy with confidence! Sew elaborate cosplay ballgowns from scratch - Take your builds to the next level with tips from award-winning cosplayers Regan and Kelley - This complete guide helps new and experienced sewists build stunning showpiece gowns

Learn the historical art of fine whitework in this informative, instructional guide from the Royal School of Needlework and master skills of Jenny Adin-Christie. This exquisite guide provides a historical background to fine whitework, and an exploration of the key stitch techniques involved in this intricate style of hand embroidery. Discover how to master five key areas of whitework technique: sculptured, translucent, filigree, fretted and voided; then apply these to two detailed and stunning pieces - a delicate button with scabiosa motif, and an elaborate embroidery honoring the 150th anniversary of the RSN. Clear step-by-step instructions and stitch diagrams aid the reader in their own whitework embroideries, and there is plenty of inspiration by way of Jenny Adin-Christie's own elegant works, and those of other RSN students and tutors.

A general introduction for artists and makers looking to incorporate textiles and textiles techniques into their work. This book introduces you to basic textile techniques and encourages you to experiment with your chosen medium to create your own piece of work. Works by featured artists and designers give you plenty of inspiration, with tips to achieve similar styles and effects. Each section also includes many stimulating ideas for source and reference material. Through colourful images and detail instructions, learn techniques such as transferring images onto fabric, creating fabrics, wireframe construction, 3D wire construction, using a heat tool, materials manipulation, adapting traditional techniques as well as joining, seaming, bonding, layering, mould-making, casting and forming.

Sustainable Fashion: Take Action, Third Edition presents a fresh exploration of practices that are underway in design and production within the fashion industry and the possibilities for future directions that can be taken now. This book focuses on innovative action needed to achieve the goal of creating healthier environments, reducing climate change, and improving the well-being of all people as they choose and wear clothing. This third edition continues to delve into the role that fashion plays in a sustainable future, through the interconnected model of "Connecting with People, Processes, and Environment", which marks the focus of the book's three sections. Covering a wide range of sustainability practices, the chapters are written by both academic and industry professionals, providing a balanced view of the topics with breadth and depth and suggesting routes for further examination. New to this Edition: -Thoroughly revised to cover advancements since the last edition, topics of equity, diversity, and inclusion are paramount within in each chapter, and social justice as a concept is highlighted throughout -Changes in cultural, social, and health contexts as they impact fashion action are spotlighted in every chapter -"Take Action" features are integrated within chapters STUDIO Features Includes: -Study smarter with self-quizzes featuring scored results and personalized study tips -Review concepts with flashcards of essential vocabulary Instructor Resources -Instructor's Guide provides suggestions for planning the course and using the text in the classroom, supplemental assignments, and lecture notes

A mother stitches a few lines of prayer into a bedcover for her son serving in the Union army during the Civil War. A formerly enslaved African American woman creates a quilt populated by Biblical figures alongside celestial events. A quilted Lady Liberty, George Washington, and Abraham Lincoln mark the resignation of Richard Nixon. These are just a few of the diverse and sometimes hidden stories of the American experience told by quilts and bedcovers from the collection of the Museum of Fine Arts, Boston. Spanning more than four hundred years, the fifty-eight works of textile art in this book express the personal narratives of their makers and owners and connect to broader stories of global trade, immigration, industry, marginalisation, and territorial and cultural expansion. Made by Americans of European, African, Native, and Hispanic heritage, these engaging works of art range from family heirlooms to acts of political protest, each with its own story to tell.