The story of tweed is tied to a series of social, economic and cultural shifts that have molded its development. This book considers the historical factors that helped to shape the design characteristics and social meanings of the group of fabrics that we call tweed, from their emergence in the 1820s to the present day. Including significant new research on tweeds, from Harris Tweed to the type used by Chanel, this book follows the history of these fabrics from the raw fiber to the finished garment in men's and women's fashion. Exploring rural and urban contexts, this book reveals the important physical and conceptual relationships of tweed with landscape. Anderson shows that, contrary to their strong popular associations with tradition, tweeds emerged in the Romantic era as a response to the dramatic changes associated with industrialization and urbanization. Progressive changes in gender relations are also explored as a major factor in tweed's evolution, from associations with particular ideals of masculinity into what is now a truly adaptable fashion textile worn by both sexes. This is the first book of its kind to recognize the importance of tweed to fashion innovation today.

This is the first publication on a remarkable collection of sixty-six outstanding Pueblo and Navajo textiles donated to the Peabody Museum in the 1980s by William Claflin, Jr., a prominent Boston businessman, avocational anthropologist, and patron of Southwestern archaeology. Claflin bequeathed to the museum not only these beautiful textiles, but also his detailed accounts of their collection histories--a rare record of the individuals who had owned or traded these weavings before they found a home in his private museum. Textile scholar Laurie Webster tells the stories of the weavings as they left their native Southwest and traveled eastward, passing through the hands of such owners and traders as a Ute Indian chief, a New England schoolteacher, a renowned artist, and various military officers and Indian agents. Her concise overview of Navajo and Pueblo weaving traditions is enhanced by the reflections of noted artist and Navajo textile expert Tony Berlant in his foreword to the text.

An essential guide to the techniques and traditional craft of hand weaving. This practical and inspirational book is perfect for beginners who want to learn the techniques of the traditional craft of hand weaving. Step-by-step instructions show you how to weave on a frame loom, including changing yarns, mastering curves and using interlocking to create intricate patterns. There is also advice on spinning, dyeing yarns, designing your work, incorporating found objects, and constructing your own simple looms. Written by an experienced weaving teacher, this book contains all you need to know to get started on weaving beautiful objects, and includes projects to make your own 'weavelets', purses and wall tapestries.

This book features the original sample collection and handwritten drafts of the talented, early 20th century weaver, Bertha Gray Hayes of Providence, Rhode Island. She designed and wove miniature overshot patterns for four-harness looms that are creative and unique. The book contains color reproductions of 72 original sample cards and 20 recently discovered patterns, many shown with a picture of the woven sample, and each with computer-generated drawdowns and drafting patterns. Her designs are unique in their asymmetry and personal in her use of name drafting to create the designs. Bertha Hayes attended the first nine National Conferences of American Handweavers (1938-1946). She learned to weave by herself through the Shuttle-Craft home course and was a charter member of the Shuttle-Craft Guild, and authored articles on weaving.

In Caribbean history, the European colonial plantocracy created a cultural diaspora in which African slaves were torn from their ancestral homeland. In order to maintain vital links to their traditions and culture, slaves retained certain customs and nurtured them in the Caribbean. The creation of lace-bark cloth from the lagetta tree was a practice that enabled slave women to fashion their own clothing, an exercise that was both a necessity, as clothing provisions for slaves were poor, and empowering, as it allowed women who participated in the industry to achieve some financial independence. This is the first book on the subject and, through close collaboration with experts in the field including Maroon descendants, scientists and conservationists, it offers a pioneering perspective on the material culture of Caribbean slaves, bringing into focus the dynamics of race, class and gender. Focussing on the time period from the 1660s to the 1920s, it examines how the industry developed, the types of clothes made, and the people who wore them. The study asks crucial questions about the social roles that bark cloth production played in the plantation economy and colonial society, and in particular explores the relationship between bark cloth production and identity amongst slave women.

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.

This wide-ranging book elucidates the symbolism of veils and highlights the power of drapery in Italian art from Giotto to Titian. In the cities of the Renaissance, display of luxury dress was a marker of status. Florentines decked out their palaces and streets with textiles for public rituals. But cloths are also the stuff of fantasy: throughout the book, the author moves from the material to the metaphorical. Curtains and veils, swaddling and shrouds, evoke associations with birth and death. The central chapters address the sculpture of Ghiberti and Donatello, focusing on how they deployed drapery to dramatic effect. In the final chapters the focus shifts to the paintings of Bellini, Lotto, and Titian, where drapery both clothes the figures and composes the picture. In the work of Titian, the veiled presence of the body is absorbed within the materials of oil-paint on canvas: medium and subject become one.

Prepare for a Career in TEXTILES with Confidence! Sara Kadolph's Textiles provides students with a comprehensive, basic knowledge of textiles. This beautiful book, filled with full-color photos and illustrations, examines the interrelationships among fibers, yarns, fabrics, and finishes and discusses how they impact product performance. Organized according to the textile production process, the text gives students a solid understanding of textile components and how they work together. New activities and case studies bring the text to life and facilitate group activities. A timeless resource for any professional in the industry, the Twelfth Edition has been updated to discuss sustainability, technological advances, and new career opportunities in the textile industry.