This book features the collector/author's well-informed views about a careful selection of mainly 19th century knotted pile carpets and flatwoven covers in various techniques from his own extensive collection, which has been built up over a period of more than five decades. Many of the rugs, which are all of the highest graphic and artistic quality, have been acquired without recourse to the open market and are therefore previously unseen and unpublished. Raoul (Mike) Tschebull's long experience in the genre allows insights that go beyond the conventional wisdom of the traditional antique oriental carpet bazaar. His collecting career began under the aegis of one of the great US collectors of a previous generation, Joseph V. McMullan. This beautifully illustrated book will include a general introduction to the region, which straddles the present-day border between north-western Iran and the Republic of Azerbaijan, setting the context for the focused presentation of some 70 examples, each with the author's comments about design, structure, technique and attribution, providing a matrix within which dating can be considered. In-country field experience colours some of his views, and extracts from his field notes and accompanying images will be included the book.

Embroidered in 1885-1886, Reading's version of the famous Bayeux Tapestry is a faithful, full-length replica of the original except in a few beguiling details. True to the principles of the Arts and Crafts movement, its Victorian makers in the Leek Embroidery Society, matched their materials, colours and techniques to those of the eleventh century nuns thought to have created the original. The result is an extraordinarily vibrant reproduction, important in its own right and on permanent display in a purpose-built gallery in Reading Museum. Scene-by-scene, read through the story of the succession to the English throne by first Harold and then William the Conqueror. Find out why the Duke of Normandy had a claim to be King of England and what the original purpose of the tapestry may have been. Discover how Victorian society's values affected the replica and how it came to reside in Reading, so fittingly close to the ruins of the Abbey built by William's youngest son, Henry I.

This text sets out to explain fashion design and product development as an integrated process the function of which is to market a continuous stream of garments at a profit. It explores materials, manufacture, costs, quality and the organization of the design and development process. The book is aimed at students of BTEC courses in clothing, CFI diploma and degree courses in clothing, management technologists in the clothing business, and members of retail buying departments.

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.

French Tapestries and Textiles is a survey of the Getty Museum's seventeenth-and eighteenth-century French textiles-one of the world's finest collections. Featuring twenty-five extraordinary tapestries woven at the Gobelins and Beauvais manufactories, the catalogue also highlights three carpets, two knotted-pile screens, and two sets of embroidered bed hangings, one of which is the only complete lit a la duchesse surviving from the period. Among the magnificent textiles discussed in this lavish volume are the Emperor of China tapestry series, the whimsical Story of Don Quixote, and Boucher's cycle The Story of Psyche. A gatefold in the book opens to reveal a photograph of the stately twenty-nine-foot carpet commissioned for Louis XIV's Galerie du Bord de l'Eau at the Louvre, a piece not publicly displayed for more than 120 years. Each entry includes a listing of artists and weavers, date and place of manufacture, and materials and techniques used, followed by a complete description and a condition statement. The accompanying commentary provides information on the literary, historical, and visual source of design imagery as well as the context of the textile's commission and production. In addition, each textile shown has a complete provenance, exhibition history, and bibliography. For lovers of French decorative arts and connoisseurs of textiles, this book offers a study both of the art of tapestry- and textile-making and of the aesthetic tradition exemplified by these remarkable objects.

Weaving Europe, Crafting the Museum delves into the history and the changing material culture in Europe through the stories of a basket, a carpet, a waistcoat, a uniform, and a dress. The focus on the objects from the collection of the Museum of European Cultures in Berlin offers an innovative and challenging way of understanding textile culture and museums. The book shows that textiles can be simultaneously used as the material object of research, and as a lens through which we can view museums. In doing so, the book fills a major gap by placing textile knowledge back into the museum. Each chapter focuses on one object story and can be read individually. Swooping from 19th-century wax figure cabinets, Nazi-era collections, Cold War exhibitions in East and West Berlin, and institutional reshuffling after German unification, it reveals the dramatically changing story of the museum and its collection. Based on research with museum curators, makers and users of the textiles in Italy and Germany, Poland and Romania, the book provides intimate insights into how objects are mobilised to very different social and political effects. It sheds new light on movements across borders, political uses of textiles by fascist and communist regimes, the objects’ fall into oblivion, as well as their heritage and tourist afterlives. Addressing this complex museum legacy, the book suggests new pathways to prefigure the future. Featuring new archival and ethnographic research, evocative examples and images, it is an essential read for students of textile and material culture, museum and curatorial studies as well as anyone interested in history, heritage and craft.

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.

Praise for the Build a Bag series: "These books are ideal for those new to bag making and will help readers grow their bag-making skills and confidence as they work through the projects. The plastic templates are a brilliant idea and a great bonus." - The Sewing Directory New to the highly acclaimed Build a Bag series, Debbie Shore brings you a selection of 15 brilliant backpacks! The 15 designs are created using the full-size rigid template contained within the book. It is easy-to-use, durable, reusable, wipe-clean and perfect for fussy cutting, plus it is simple to position and use - there is no need to pin it. The backpacks are made using different techniques, pockets, straps and fastenings to create 15 very different results. But why stop there? The template can also be used for your own design variations. As you mix and match the techniques covered within the book, Debbie gives advice on how to adapt and create your own unique designs. Each project in the book is explained using Debbie's friendly style and easy-to-follow step-by-step photography, and there is also a comprehensive techniques section and a guide to using the template.

Over the past 30 years, research on archaeological textiles has developed into an important field of scientific study. It has greatly benefitted from interdisciplinary approaches, which combine the application of advanced technological knowledge to ethnographic, textual and experimental investigations. In exploring textiles and textile processing (such as production and exchange) in ancient societies, archaeologists with different types and quality of data have shared their knowledge, thus contributing to well-established methodology. In this book, the papers highlight how researchers have been challenged to adapt or modify these traditional and more recently developed analytical methods to enable extraction of comparable data from often recalcitrant assemblages. Furthermore, they have applied new perspectives and approaches to extend the focus on less investigated aspects and artefacts. The chapters embrace a broad geographical and chronological area, ranging from South America and Europe to Africa, and from the 11th millennium BC to the 1st millennium AD. Methodological considerations are explored through the medium of three different themes focusing on tools, textiles and fibres, and culture and identity. This volume constitutes a reflection on the status of current methodology and its applicability within the wider textile field. Moreover, it drives forward the methodological debates around textile research to generate new and stimulating conversations about the future of textile archaeology.

This book presents a wealth of images that will spark the imagination of all who see them. There are times when all artists struggle for inspiration. This can be particularly true when you try to create patterns, textures and designs with which to decorate your work. In this book, Carolyn Genders presents a wealth of images - of both natural and manmade objects - that will spark your imagination as soon as you see them. The book also highlights how these images can be visually abstracted, refined and developed to create other beautiful patterns, designs and forms. The result is not only a useful guide to how the creative process works but also a visually glorious sourcebook of images. This book is a must for all - whatever field you work in and whether you are an amateur or a professional artist.

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

Patchwork quilts are hugely evocative emblems of our domestic past. With no two quite the same, each example hints both at the story of the particular household in which it was produced and at a larger piece of social history. But quilting is by no means only historical, with the craft seeing a huge revival in popularity in recent years, and items that were once made for purely utilitarian and practical reasons are now produced and appreciated for the connection they afford us to a rich vein of heritage and nostalgia. Illustrated with a stunning range of examples from the Quilters' Guild Collection - of which the author is curator - this book is a wonderful introduction to a hugely important aspect of British domestic history.

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.

Inspiration and practical tips on incorporating the everyday into textile art.In Embroidering the Everyday, acclaimed textile artist Cas Holmes explores the 'everyday' and the 'domestic', generating a wealth of inspiration and raw material to create textile work that resonates with time and place.Cas invites us to re-examine the world and use the limitations sometimes imposed by geographic area or individual circumstances as a rich resource to develop ideas for mixed media textiles in a more thoughtful way. With techniques and projects throughout, the book explores: *How to be more resourceful with what we have to hand, including working with vintage scraps, homemade dyes and papers, and even teabags and biscuits. *Rediscovering family history and how photographs and objects can provide inspiration, including Cas's own exploration of her Romani heritage. *Drawing inspiration from our local landscape and how it changes through the seasons. *How to transform materials with mark-making, printing, image transfer, collage and stitch.Packed with inspirational work from the author, and other leading practitioners who place the everyday at the heart of their work, this treasure trove of ideas, techniques and practical projects is an essential guide for our times.

With hundreds of step-by-step illustrated instructions and a user-friendly, stay-flat format, Patternmaking with Stretch Knit Fabrics provides emerging fashion designers with comprehensive information on how to draft patterns for popular cut-and-sew stretch knit fabrics such as jersey and knits with spandex. After covering the basics of knits and techniques for gauging stretch capacity, Julie Cole introduces a unique, simplified approach to drafting slopers using hip and top foundations. She then provides information on converting, drafting, grading, and reducing patterns for proper fit in four categories of stretch. The book proceeds to drafting slopers and patterns for tops, dresses, jackets, sweaters, cardigans, skirts, pants, lingerie, swimwear, and activewear. Patternmaking with Stretch Knit Fabrics is ideal for students with basic or intermediate design, patternmaking, and sewing skills for any course in which students design and draft patterns for knits; or courses that incorporate both knits and woven fabrics. Features - Accurate and simplified system for patternmaking with stretch knit fabrics with easier to follow approach than other books -Each chapter includes - Key terms - Highly-illustrated step-by-step instructions - Three types of boxes: "Important", "Pattern Tip", and "Stitching Tip" - End of chapter features "Knit It Together" checklist, "Stop! What Do I Do If..." troubleshooting tips, and "Self Critique" review - More than 900 technical drawings with color accents and 100 photographs of sewn samples on the dress form Patternmaking with Stretch Knit Fabric STUDIO - Study smarter with self-quizzes featuring scored results and personalized study tips - Review concepts with flashcards of terms and definitions - Access downloadable files for half-size top and hip foundations, and slopers found in the book Teaching Resources - Instructor's Guide and Test Bank includes sample syllabi, suggested projects, test questions, and evaluation guides

The history of men's needlework has long been considered a taboo subject. This is the first book ever published to document and critically interrogate a range of needlework made by men. It reveals that since medieval times men have threaded their own needles, stitched and knitted, woven lace, handmade clothes, as well as other kinds of textiles, and generally delighted in the pleasures and possibilities offered by all sorts of needlework. Only since the dawn of the modern age, in the eighteenth and the nineteenth centuries, did needlework become closely aligned with new ideologies of the feminine. Since then men's needlework has been read not just as feminising but as queer. In this groundbreaking study Joseph McBrinn argues that needlework by male artists as well as anonymous tailors, sailors, soldiers, convalescents, paupers, prisoners, hobbyists and a multitude of other men and boys deserves to be looked at again. Drawing on a wealth of examples of men's needlework, as well as visual representations of the male needleworker, in museum collections, from artist's papers and archives, in forgotten magazines and specialist publications, popular novels and children's literature, and even in the history of photography, film and television, he surveys and analyses many of the instances in which "needlemen" have contested, resisted and subverted the constrictive ideals of modern masculinity. This audacious, original, carefully researched and often amusing study, demonstrates the significance of needlework by men in understanding their feelings, agency, identity and history.

This books explains the fundamentals of printed textile design, from design brief through to the completed collection, and introduces the basics of colour, drawing, composition and repeat with a series of step-by-step exercises and examples. Printed Textile Design helps to demystify the design process and provides an invaluable guide to the study and practice of textile design. The book includes case studies of designers working in both the fashion and interiors sectors. It covers hand and traditional print techniques and the latest digital print technologies, with specially commissioned photographs of the processes. All aspects of textile design are covered, from sustainability to manufacturing and marketing the finished product.

The Bayeux Tapestry has long been recognized as one of the most problematical historical documents of the Norman Conquest of England in 1066. More than a reinterpretation of the historical evidence, Suzanne Lewis's study explores the visual and textual strategies that have made the Bayeux Tapestry's narrative such a powerful experience for audiences over the centuries. The Rhetoric of Power focuses on how the Tapestry tells its story and how it shapes the responses of reader-viewers. This involves a detailed analysis of the way the visual narrative draws on diverse literary genres to establish the cultural resonance of the story it tells. The material is organized into self-contained yet cross-referencing episodes that not only portray the events of the Conquest but locate those events within the ideological codes of Norman feudalism. Lewis's analysis conveys how the whole 232-foot tapestry would have operated as a complex cultural 'fiction' comparable to modern cinema.

Alfred C. Haddon began his study of these native fabrics and garments with the collection in the Sarawak museum, Kuching, of which many of the patterns had been identified. His own collection, supplemented by one purchased for him from Dr Charles Hose, is now in the Cambridge Museum of Archaeology and Ethnology. These sources, together with an examination of the cloths in the British Museum, formed the basis of this memoir, which was originally published by Cambridge University Press in 1936. This was the first time that the beautiful and intimate patterns of Iban textiles had been investigated and illustrated. Laura E. Start contributed a full technical description of the manufacture of the fabrics and provided all the drawings.

New approaches to what is arguably the most famous artefact from the Middle Ages. In the past two decades, scholarly assessment of the Bayeux Tapestry has moved beyond studies of its sources and analogues, dating, origin and purpose, and site of display. This volume demonstrates the value of more recent interpretive approaches to this famous and iconic artefact, by examining the textile's materiality, visuality, reception and historiography, and its constructions of gender, territory and cultural memory. The essays it contains frame discussions vital to the future of Tapestry scholarship and are complemented by a bibliography covering three centuries of critical writings. Contributors: Valerie Allen, Richard Brilliant, Shirley Ann Brown, Elizabeth Carson Pastan, Madeline H. Cavines, Martin K. Foys, Michael John Lewis, Karen Eileen Overbey, Gale R. Owen-Crocker, Dan Terkla, Stephen D. White.