The churches of Britain contain a remarkable heritage of exquisitely embroidered vestments, and cathedrals in particular hold some of the most beautiful textiles ever produced in Europe. The history of these priestly garments and how their use developed in Britain and Europe is fascinating. This book outlines the tradition and mysticism associated with them and the role they still play in the 'theatre' of church, and shows how colour and ornament are used in the symbolism of the Christian faith. It explores the history of vestment production up to the present day, covering the practicalities of design, the sourcing of fabrics and the embroiderers themselves.

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.

Macedonian ethnic dress is full of meaning and significance. It is visually stunning and embodies the skills, expectations, hopes and fears, creative use of materials, and aesthetic sense of the individuals who made and wore it. Saturated with cultural meaning, these many-layered ensembles rank among the best examples of textile art anywhere. This landmark catalog brings together scholarship by Macedonian experts with a museum collection in the United States and outstanding photography to present treasures of Macedonian dress from 1880 to 1950. Essays on embroidery, materials of dress, techniques of production, and hair dressing illuminate the complexities that existed in this small country at the crossroads of civilizations. The legacy of Macedonian women's hands and minds will live on in this volume for future generations to admire.

The first in the four-part series "Habits of Being," charting the social, cultural, and political expression of clothing as seen on the street and in museums, in films and literature, and in advertisements and magazines, this volume features a close-up focus on accessories--the shoe, the hat, the necklace--intimately connected to the body.
These essays, most of which have appeared in the cutting-edge Italian series "Abito e Identita," offer new theoretical and historical takes on the role of clothing, dress, and accessories in the construction of the modern subject. With contributions by leading scholars in art history, semiotics, literary and film studies, history and fashion studies, and with additional writings by psychoanalysts, textile artists, and fashion designers from Europe and America, readers will encounter a dizzying array of ideas about the modern body and the ways in which we dress it.
From perspectives on the "model body" to Sonia Delaunay's designs, from Fascist-era Spanish women's prescribed ways of dressing to Futurist vests, from Barbara Stanwyck's anklet to Salvatore Ferragamo's sandals, from a poet's tiara to a worker's cap, from the scarlet letter to the yellow star: "Accessorizing the Body" imparts startling insights into how much the most modest accessory might reveal.
Contributors: Zsofia Ban, Eotvos Lorand U, Budapest; Martha Banta, U of California, Los Angeles; Vittoria C. Caratozzolo, U of Rome "La Sapienza"; Paola Colaiacomo, U of Rome "La Sapienza"; Maria Damon, U of Minnesota; Giuliana Di Febo, U of Rome Three; Micol Fontana; Manuela Fraire; Becky Peterson, U of New Mexico; Jeffrey C. Stewart, U of California, Santa Barbara; Vito Zagarrio, U of Rome Three; Franca Zoccoli.

"Marseille: The Cradle of White Corded Quilting," which accompanies an exhibition of the same name, traces the origins and the commercial development of "broderie de Marseille" needlework. During the seventeenth century these supple, all-white corded and quilted furnishings--from bedcovers to quilted bodices and caps--grew out of the thriving textile trade centered on France's Mediterranean port of Marseille as adaptations of popular foreign textile products. "Broderie de Marseille" is a form of three-dimensional textile sculpture using plain white cloth and white cotton cording, deftly manipulated with needle and thread to reveal patterns highlighted by the resulting play of light and shadow on the textile surface. Skillful execution of "broderie de Marseille" resulted in delicate, refined work that graced the homes and figures of aristocrats and launched a worldwide passion for all-white corded needlework. The quilted works were filled with imagery expressing contemporary cultural values, such as folk legends, heraldic devices and royal monograms (bedcovers), and floral wreaths and fruits symbolizing good fortune and fertility (wedding quilts). Contemporary versions, today often referred to commercially as "matelasse," are machine made and thus lack the personal skills and intimate connections to the work represented by the confections of the original needleworkers. In this richly illustrated monograph Kathryn Berenson has exhaustively researched the fascinating story through a broad range of historical records, including household inventories, letters, commercial documents, and literary references.

Contemporary artist Allison Smith's diverse creative practice critically engages with popular forms of historical reenactment through a variety of media, including sculpture, textiles, ceramics, and photography. Focusing on the handmade and performative aspects of history and material culture, Smith re-stages, refigures, and replays the role of traditional crafts in large-scale installations that reconsider the construction of collective memory and identity. For the core of Allison Smith: Needle Work, the artist created contemporary revisions of European and American gas masks from World War I and World War II. Smith used art supplies found at local fabric and craft retail stores to explore a range of masklike forms - from the ghoulish to the foolish - thereby questioning essential notions of camouflage and masquerade. This exhibition catalog, illustrated throughout in color, includes an essay that considers Smith's project in light of Peter Sloterdijk's "Terror from the Air", as well as in-depth interviews with the artist and the curator.

In this new, ground-breaking work, Woven Masterpieces of Sikh Heritage, Frank Ames' unique passion for the subject reveals the events and ideas that transpired within this Khalsa (Sikh Brotherhood) movement, transforming the Kashmir shawl to one of powerful ethnic proportions. During this era of Punjab's colorful history a variety of complex and enigmatic patterns emerged, some purely geometric, others symbolic, which have long eluded textiles experts. Maharaja Runjit Singh's takeover of Kashmir in 1819 had an extraordinary impact on the fashion of the legendary Kashmir shawl, giving rise to a major artistic expression in the subcontinent. Through the exploration of miniature painting of Northern India and the hill states, Kashmiri manuscripts, the Sikh Holy Scriptures of the Sri Adi Granth and Janam Sakhis, and illustrations of unique shawls from world collections, Ames describes with his usual penchant for exacting detail the nature and source of these enigmatic patterns that define the Sikh period. In addition, textile enthusiasts will discover new material in chapters devoted to the Mughal period, lacquer painting and Indo-Persian shawl influences and trade.

From booties and scarves to art and fashion, "The Culture of Knitting" addresses knitting since 1970. Investigating knitting as art, craft, design, fashion, performance and as an aspect of the everyday, the text uncovers the cultural significance of knitting. Drawing on a variety of sources, including interviews with knitters from different disciplines as well as amateurs, the text breaks down hierarchical boundaries and stereotypical assumptions that have hitherto negated the academic study of knitting, and it highlights the diversity and complexity of knitting in all its guises. "The Culture of Knitting" investigates not merely why knitting is so popular now, but the reasons why knitting has such longevity. By assessing the literature of knitting, manuals, patterns, social and regional histories, alongside testimonial discussions with artists, designers, craftspeople and amateurs, it offers new ways of seeing, new methods of critiquing knitting, without the constraints of disciplinary boundaries in the hope of creating an environment in which knitting can be valued, recognized and discussed.

Collected and highly valued all over the world, Navajo weaving has been the subject of many aesthetic and historic studies. Grounded in archival research and cultural and economic approaches, this new book situates Navajo weavers within the economic history of the Southwest and debunks the romantic stereotypes of weavers and traders that have dominated the literature.

Beginning with an analysis of trader archives revealing that nearly all Navajo textiles were wholesaled by weight until the 1960s, M'Closkey scrutinizes the complex interactions among artists, dealers, collectors, and museum curators that have facilitated the explosion in value of those old weavings. She also examines the production of Mexican copies of Navajo-style rugs, which in recent years has combined with the market for pre-1950 textiles to diminish the demand for contemporary Navajo weavings. Navajo patterns, she points out, remain unprotected by copyright because traditional designs have been in the public domain for decades.

Much of the exploitation M'Closkey delineates has been justified by the ethnographic classification of functional textiles as nonsacred crafts. But the author's conversations with Navajo weavers suggest that their motivations for weaving go far beyond economics. Weavers' feelings for "hozho," the Navajo concept of harmonious beauty, encompass far more than any western concept of aesthetics. M'Closkey shows that the weavers' views of their work are marginalized when the work is treated as a collectible craft and culture is split from commodity.

No one who studies, collects, sells, or enjoys Navajo textiles (either genuine or knock-offs) can ignore this book. Sure to be controversial, itwill be important reading for anyone concerned with the merchandising of Indian art.

Although less well known than its much-admired counterparts in Peru and Bolivia, highland Ecuadorian weaving is an Andean tradition that has relationships with these more southern areas. A world away from the industrialized textile manufacturing of Euro-American society, these handmade pieces reflect the history and artistry of an ancient culture.

This comprehensive study, edited by Ann Pollard Rowe, is unrivaled in its detail and includes not only descriptions of the indigenous weaving and dyeing technology, but also an interpretation of its historical significance, as well as hundreds of photographs, drawings, and maps that inform the understanding of the process.

The principal focus is on backstrap-loom weaving, a major pre-Hispanic technology. Ecuadorian backstrap looms, which differ in various ways from those found elsewhere in the Andes, have previously only been treated in general terms. Here, the basic operation of this style of loom is covered, as are a variety of patterning techniques including warp-resist (ikat) dyeing, weaving belts with twill, and supplementary- and complementary-warp patterning. Spanish colonial treadle-loom weaving is also covered. The weaving techniques are explained in detail, so the reader can replicate them if desired.

Textiles have been an important art form among Andean peoples from remote prehistory up to the present. A greater understanding of their creation process can yield a more meaningful appreciation of the art itself.

Every Persian carpet has a story to tell -- from the remote villages of Afghanistan and Iran, down the ancient trade routes traveled for centuries, to the bazaars of Tehran and the markets of the Western world. Carpet-making is one of this tumultuous region's few constants, an art form that transcends religious and political turmoil. Part travelogue and part exploration into the meaning and worth of these mystical artifacts, "The Root of Wild Madder" presents practical information about carpets while exploring the artistic, religious, and cultural complexities of these enigmatic lands.

Spanning the backs of choir stalls above the heads of the canons and their officials, large-scale tapestries of saints' lives functioned as both architectural elements and pictorial narratives in the late Middle Ages. In an extensively illustrated book that features sixteen color plates, Laura Weigert examines the role of these tapestries in ritual performances. She situates individual tapestries within their architectural and ceremonial settings, arguing that the tapestries contributed to a process of storytelling in which the clerical elite of late medieval cities legitimated and defended their position in the social sphere. Weigert focuses on three of the most spectacular and little-studied tapestry series preserved from the fifteenth and early sixteenth centuries: Lives of Saints Piat and Eleutherius (Notre-Dame, Tournai), Life of Saint Steven (Saint-Steven, Auxerre [now Musee du Moyen Age, Paris]), and Life of Saints Gervasius and Protasius (Saint-Julien, Le Mans). Each of these tapestries, measuring over forty meters in length, included elements that have traditionally been defined as either lay or clerical. On the prescribed days when the tapestries were displayed, the liturgical performance for which they were the setting sought to merge the history and patron saint of the local community with the universal history of the Christian church. Weigert combines a detailed analysis of the narrative structure of individual images with a discussion of the particular social circumstances in which they were produced and perceived. Weaving Sacred Stories is thereby significant not only to the history of medieval art but also to art history and cultural studies in general.

Exquisite blankets, sarapes and ponchos handwoven by southwestern peoples are admired throughout the world. Despite many popularized accounts, serious gaps have existed in our understanding of these textiles--gaps that one man devoted years of scholarly attention to address.

During much of his career, anthropologist Joe Ben Wheat (1916-1997) earned a reputation as a preeminent authority on southwestern and plains prehistory. Beginning in 1972, he turned his scientific methods and considerable talents to historical questions as well. He visited dozens of museums to study thousands of nineteenth-century textiles, oversaw chemical tests of dyes from hundreds of yarns, and sought out obscure archives to research the material and documentary basis for textile development. His goal was to establish a key for southwestern textile identification based on the traits that distinguish the Pueblo, Navajo, and Spanish American blanket weaving traditions--and thereby provide a better way of identifying and dating pieces of unknown origin.

Wheat's years of research resulted in a masterful classification scheme for southwestern textiles--and a book that establishes an essential baseline for understanding craft production. Nearly completed before Wheat's death, "Blanket Weaving in the Southwest" describes the evolution of southwestern textiles from the early historic period to the late nineteenth century, establishes a revised chronology for its development, and traces significant changes in materials, techniques, and designs.

Wheat first relates what Spanish observers learned about the state of native weaving in the region--a historical review that reveals the impact of new technologies andeconomies on a traditional craft. Subsequent chapters deal with fibers, yarns, dyes, and fabric structures--including an unprecedented examination of the nature, variety, and origins of bayeta yarns--and with tools, weaves, and finishing techniques.

A final chapter, constructed by editor Ann Hedlund from Wheat's notes, provides clues to his evolving ideas about the development of textile design. Hedlund--herself a respected textile scholar and a protA(c)gA(c)e of Wheat's--is uniquely qualified to interpret the many notes he left behind and brings her own understanding of weaving to every facet of the text. She has ensured that Wheat's research is applicable to the needs of scholars, collectors, and general readers alike. Throughout the text, Wheat discusses and evaluates the distinct traits of the three textile traditions. More than 200 photos demonstrate these features, including 191 color plates depicting a vast array of chief blankets, shoulder blankets, ponchos, sarapes, diyugi, mantas, and dresses from museum collections nationwide. In addition, dozens of line drawings demonstrate the fine points of technique concerning weaves, edge finishes, and corner tassels. Through his groundbreaking and painstaking research, Wheat created a new view of southwestern textile history that goes beyond any other book on the subject. "Blanket Weaving in the Southwest" addresses a host of unresolved issues in textile research and provides critical tools for resolving them. It is an essential resource for anyone who appreciates the intricacy of these outstanding creations.

Textiles are central to our lives and are at the heart of the world's largest industries. In recent years there has been a dynamic shift in attitudes toward textiles, fuelled in part by explosive developments in technology. While textiles have always retained roots in craft and industry, the discipline now embraces a much wider range of practices. Innovations in the industry demand a fresh approach to the subject, which this comprehensive introduction ably supplies. Taking as their starting point the very meaning of textiles, Gale and Kaur go on to show the astonishing range of opportunities for careers in the field, from the creative (artists, craftspeople and designers) to the social and industrial, to the commercial and associated practices (buyers, journalists, researchers and scientists). The Textile Book takes us behind the scenes with professionals to reveal what various jobs involve, what influences decision makers, and how their decisions affect what we buy next season. What happens to clothes before they reach the shops? What determines the 'must have' item? How can recycled bottles be transformed into silk-like yarns? These and many other questions are explored to show the diversity that makes up the contemporary global textile scene. Woven, printed, embroidered, knitted -- textiles are pivotal to the everyday experience of people in all parts of the world. This wide-ranging and informative book conveys the excitement and new challenges textiles represent and is essential reading for anyone working with, studying or simply interested in textiles.

Baskets made of baleen, the fibrous substance found in the mouths of plankton-eating whales-a malleable and durable material that once had commercial uses equivalent to those of plastics today-were first created by Alaska Natives in the early years of the twentieth century. Because they were made for the tourist trade, they were initially disdained by scholars and collectors, but today they have joined other art forms as a highly prized symbol of native identity. Baskets of exquisite workmanship, often topped with fanciful ivory carvings, have been created for almost a century, contributing significantly to the livelihood of their makers in the Arctic villages of Barrow, Point Hope, Wainwright, and Point Lay, Alaska. Baleen Basketry of the North Alaskan Eskimo, originally published in 1983, was the first book on this unusual basket form. In this completely redesigned edition, it remains the most informative work on baleen baskets, covering their history, characteristics, and construction, as well as profiling their makers. Illustrations of the basketmakers at work and line drawings showing the methods of construction are a charming addition to this book, which belongs in the library of all those with an interest in the art of basketry and in Alaskan Native arts in general.

For more than 100 years, Vancouver has been home to a vibrant and thriving Cantonese opera scene. As a performance art carried out by transient troupes, it is an ephemeral medium that rarely leaves a trace in the historic records. However, an extraordinary treasure trove of early 20th-century Cantonese opera costumes, props, and stage dressings made its way to the Museum of Anthropology in Vancouver, BC. In the first book-length study of this little known collection, April Liu retraces the arduous journeys of early Cantonese opera troupes who began arriving along the west coast of North America during the mid-19th century. A close examination of the costumes and props reveal the moving songs, stories, performances, and ritual practices of early Chinese migrant communities who struggled to make a home in a foreign and often hostile land.

Classic Tailoring Techniques: A Construction Guide for Women's Wear presents detailed, precise construction techniques for both basic jackets and skirts and more complex variants, walking students through every step of the process: tailoring fundamentals, preparing a pattern, fitting, selecting fabric, layout, cutting, and altering. Photographs, diagrams, and step-by-step instructions guide introductory and intermediate level students with a background in design, patternmaking, and sewing through timeless techniques for custom hand tailoring production.

This book brings together seventeen important new papers published by Anna Muthesius since 1995. Many of the articles, plates and specially prepared figures are available only in this book. The volume acts as an essential companion to Dr Muthesius' earlier book in this series, Studies in Byzantine and Islamic Silk Weaving. The present book includes a group of seven papers (Studies II-VI, X, and XIV) originally entitled 'Silk in Byzantium'. These were prepared in the first instance for a seminar held in 1997 in Nicosia at the University of Cyprus. They offer an overall survey of Byzantine sericulture, silk manufacture, design, use and distribution. Study I has been added as an introduction to the Cyprus series, and to the book as a whole. Silk in an ecclesiastical context (the relationship between Imperial and monastic piety, ritual and Christological debate) forms the focus for a further five papers (Studies VIII-IX and XI-XIII). Study VIII acts to introduce a new subject, the theme of Byzantine Seafaring silks. The final three articles (Studies XV-XVII) explore the immense impact of Byzantine silks abroad between the fifth and fifteenth centuries, in regions as far apart as the British Isles and Central Asia.

Carpets made in the "Rug Belt"-an area that includes Morocco, North Africa, the Middle East, Central Asia, and northern India-have been a source of fascination and collecting since the 13th century. This engaging and accessible book explores the history, design techniques, materials, craftsmanship, and socioeconomic contexts of these works, promoting a better understanding and appreciation of these frequently misunderstood pieces. Fifty-five examples of Islamic carpets are illustrated with new photographs and revealing details. The lively texts guide readers, teaching them "how to read" clues present in the carpets. Walter B. Denny situates these carpets within the cultural and social realm of their production, be it a nomadic encampment, a rural village, or an urban workshop. This is an essential guide for students, collectors, and professionals who want to understand the art of the Islamic carpet. Published by The Metropolitan Museum of Art/Distributed by Yale University Press

An exquisite and authoritative look at four centuries of quilts and quilting from around the world Quilts are among the most utilitarian of art objects, yet the best among them possess a formal beauty that rivals anything made on canvas. This landmark book, drawn from the world-renowned collection of the Colonial Williamsburg Foundation, highlights the splendor and craft of quilts with more than 300 superb color images and details. Fascinating essays by two noted scholars trace the evolution of quilting styles and trends as they relate to the social, political, and economic issues of their time. The collection includes quilts made by diverse religious and cultural groups over 400 years and across continents, from the Mediterranean, England, France, America, and Polynesia. The earliest quilts were made in India and the Mediterranean for export to the west and date to the late 16th century. Examples from 18th- to 20th-century America, many made by Amish and African-American quilters, reflect the multicultural nature of American society and include boldly colored and patterned worsteds and brilliant pieced and appliqued works of art. Grand in scope and handsomely produced, Four Centuries of Quilts: The Colonial Williamsburg Collection is sure to be one of the most useful and beloved references on quilts and quilting for years to come. Published in association with the Colonial Williamsburg Foundation Exhibition Schedule: Art Museums of Colonial Williamsburg (06/07/14-May 2016)