In a museum in the small town of Bayeux in Normandy, specially devised to hold this single object, is a strip of linen nearly one thousand years old. It is 230 feet long and about 20 inches high. On it, embroidered in brightly colored wool, are figures of men, animals, buildings, and ships. In a series of vivid scenes, with a running explanatory text in Latin, it relates the invasion of England by William of Normandy and his victory at the Battle of Hastings in 1066. Nothing remotely like the Bayeux Tapestry exists anywhere in the world, yet comparatively few people have been to Bayeux to see it and appreciate how totally absorbing it is. This book, first published in 1985, reproduces the Tapestry in full color and makes it accessible as never before. The story told in the Tapestry has all the ingredients of an epic poem, and a cast of characters that includes King Edward the Confessor; his liegeman, Duke Harold; and William, Duke of Normandy. When Edward dies, Harold succeeds him as king. William, who has a better dynastic claim, invades England, and at the Battle of Hastings Harold is defeated and killed. Here the Tapestry breaks off, but it probably originally concluded with William's coronation--the beginning of a sequence of monarchs that has continued virtually unbroken until today, and of the English nation as we know it. The Tapestry is reproduced in full color over 146 pages, with captions on a fold-out page for easy reference. A second reproduction of the Tapestry in black and white has a detailed accompanying commentary. Sir David Wilson, former Director of the British Museum, provides an up-to-date summary of the historical evidence, explaining each episode and coveringrelated topics such as the costumes, armor, ships, buildings, and customs. One of the primary sources for the history of the period, the Tapestry is a social document of incalculable value. It is the sole survivor of an art form that may once have been widespread, the wall-hanging commemorating the deeds of a great man.

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.

Repeating patterns can soothe or energize us, bringing joy and harmony to everyday life. Repeat Printed Pattern for Interiors explores the power repeat patterns hold over us and what goes into creating original, effective printed designs. Beginning with the history of patterns in interior design, Kate Farley uncovers lessons from the work of Owen Jones, William Morris, Collier Campbell and Josef Frank. There are also interviews with some of the best contemporary pattern designers working today: Angie Lewin, Deborah Bowness, Eley Kishimoto, Emma J. Shipley, Galbraith & Paul, Neisha Crosland, Orla Kiely OBE, Sarah Campbell and Timorous Beasties. Each interview covers the designer's practice and ethos and includes a deconstruction of one design, with discussion of initial sketches, details of design development, manufacturing insights and images of final products. Covering hand-drawn techniques through to digital manipulation, you'll also be guided through the implications of visual language, colour statements, manufacturing considerations and commercial interior contexts to prepare you to jump in and start creating your own unique patterns.

This book brings together our present-day knowledge about textile terminology in the Akkadian language of the first-millennium BC. In fact, the progress in the study of the Assyrian dialect and its grammar and lexicon has shown the increasing importance of studying the language as well as cataloging and analysing the terminology of material culture in the documentation of the first world empire. The book analyses the terms for raw materials, textile procedures, and textile end products consumed in first-millennium BC Assyria. In addition, a new edition of a number of written records from Neo-Assyrian administrative archives completes the work. The book also contains a number of tables, a glossary with all the discussed terms, and a catalogue of illustrations. In light of the recent development of textile research in ancient languages, the book is aimed at providing scholars of Ancient Near Eastern studies and ancient textile studies with a comprehensive work on the Assyrian textiles.

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.

For freshmen-level courses in Industrial Sewing, Introduction to Industry Methods, Sewn Product Techniques, Production Management, Workroom Techniques, and Beginning Apparel Construction. Sewing for the Apparel Industry, Second Edition, focuses on the fundamental principles of garment construction, the interrelationship of assembly methods, and the elements which the designer must consider at the outset of individual design creation. It details easy-to-master production operations, while emphasizing the equipment, practical skills, and sewing processes used in apparel manufacturing. Efficient and cost effective procedure descriptions complement material on the basic concept of design and desired quality, providing students with an understanding of various production methods and how they affect design decisions and relate to garment quality and labor and material costs.

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.

"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.

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.

Modern Macram Style is the ultimate guide into the world of macram for beginners. Macram expert Amaia Martin, from La Terra Macram , has created 20 unique projects to introduce you to this millenary art and make you fall in love with it! You will be working with sustainable materials such as recycled cotton, jute and raffia, to create a selection of plant hangers, wall hangings and lifestyle items, that will help you develop your macram skills, as well as adding warmth and a bohemian touch to your home interior. Throughout the book, you will find tips and design variations that will allow you to adapt the projects to your style by using different fibres, colours or techniques. Learn over 10 macram knots and patterns that will allow you to master this craft and start making your own designs in the future. The world of Modern Macram will be at your feet! You will be able to create anything from simple plant hangers to intricate lampshades, rugs or even a macram chair. You will also be introduced to another of Amaia's passions, plants. She has selected her top 10 indoor plants to complement each of the plant hangers in this book, and added care tips to keep them looking their best. Get ready for a crafty journey to a beautiful and sustainable home!

Extensively illustrated, this is the first accessible publication on the history of tapestry in over two decades. Woven with dazzling images from history, mythology and the natural world, and breath-taking in their craftsmanship, tapestries were among the most valuable and high-status works of art available in Europe from the medieval period to the end of the eighteenth century. Over 600 historic examples hang in National Trust properties in England and Wales - the largest collection in the UK. This beautifully illustrated study by tapestry expert Helen Wyld, in association with the National Trust, offers new insights into these works, from the complex themes embedded in their imagery, to long-forgotten practices of sacred significance and ritual use. The range of historical, mythological and pastoral themes that recur across the centuries is explored, while the importance of the 'revival' of tapestry from the late nineteenth century is considered in detail for the first time. Although focussed on the National Trust's collection, this book offers a fresh perspective on the history of tapestry across Europe. Both the tapestry specialist and the keen art-history enthusiast can find a wealth of information here about woven wall hangings and furnishings, including methods of production, purchase and distribution, evolving techniques and technologies, the changing trends of subject matter across time, and how tapestries have been collected, used and displayed in British country houses across the centuries.

Here is the fabric and textile directory that dressmakers and fashion designers everywhere have been waiting for. This book is like having your own personal shopper - able to recommend fabrics to suit the effects you want to achieve, show you how the fabric will perform, and tell you the best ways of using it. - Organized by function: do you want a fabric for structure, fluidity and movement, added volume, definition or decoration? This book works in such a way that you can view the fabric as the medium from which the garment design can be achieved right from the beginning. - Each textile in the directory is accompanied by samples of the fabric presented so that its properties come alive, allowing you to really understand how a fabric might behave. - The chart section at the back of the book includes essential guides to fibre properties, fabric structure and weight, fabric characteristics and end use.

This book explores interconnections between high literary modernism and the revolution in dress design of the early twentieth century. During this time, new and «liberated» lifestyles created a bond among figures as diverse as writers and fashion editors, painters and art critics, photographers and models, dancers and economists – all of whom were in different ways looking at new «inventive clothes» (Vreeland) as life experiences. Starting points of the research are Pirandello’s One, no one, and one hundred thousand, where the protagonist’s disowning of his own image in the mirror ignites a tragedy, and Roger Fry’s essays on the resuscitation of Victorianism at the end of the First World War, where the phantasmagoria of time is identified as the basis for modern illusion. Each chapter in the book explores a different facet of the same topic: the distance between self and image as the dispenser or destroyer of enchantment. This issue was actively pursued by philosophers (Benjamin), writers (Woolf, Mansfield, Fitzgerald), photographers (Man Ray, Cecil Beaton) and fashion critics (Vreeland). The evolution in fashion editing was meanwhile instructing the sophisticated readers of Vogue and Harper’s Bazaar in the art of contemplating their own reflections in the mirror and seeing in them exactly what they wanted to see. The Natasha of the title is Tolstoy’s heroine, a secret spring of creative energy for Katherine Mansfield, and the source of one of Diana Vreeland’s most perceptive insights into the nature of fashion.

Crochet your own costumes, familiar creatures, and classic artifacts from the Harry Potter films in this follow up companion to the bestselling Harry Potter: Knitting Magic. Conjure the magic of the Wizarding World with your crochet hook with this deluxe collection of more than 20 official patterns for toys, keepsakes, and costume replicas inspired by the Harry Potter films. A comprehensive, officially licensed guide to crocheting the Wizarding World of Harry Potter, Harry Potter: Crochet Wizardry includes projects for every skill level and a wide range of stitches and techniques featuring yarn expertly matched to the true colors used in the films. Harry Potter: Crochet Wizardry also includes behind-the-scenes facts and quotes from the films, as well as concept art and film stills to inspire your creativity and relive favorite movie moments. With beautiful full-color photography, step-by-step instructions, and clearly presented charts and schematics, Harry Potter: Crochet Wizardry is the ultimate crocheter's guide to the Wizarding World.

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.

* SHORTLISTED FOR THE COSTA BIOGRAPHY AWARD 2021 * 'If her moving, engrossing, elegantly written memoir does not win prizes, there really is no justice in the literary world.' Lucy Atkins, Sunday Times All happy families are alike; each unhappy family is unhappy in its own way. When Arifa Akbar discovered that her sister had fallen seriously ill, she assumed there would be a brief spell in hospital and then she'd be home. This was not to be. It was not until the day before she died that the family discovered she was suffering from tuberculosis. Consumed is a story of sisterhood, grief, the redemptive power of art and the strange mythologies that surround tuberculosis. It takes us from Keats's deathbed and the tubercular women of opera to the resurgence of TB in modern Britain today. Arifa travels to Rome to haunt the places Keats and her sister had explored, to her grandparent's house in Pakistan, to her sister's bedside at the Royal Free Hospital in Hampstead and back to a London of the seventies when her family first arrived, poor, homeless and hungry. Consumed is an eloquent and moving excavation of a family's secrets and a sister's detective story to understand her sibling.

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.

Collections of textiles-historic costume, quilts, needlework samplers, and the like-have benefited greatly from the digital turn in museum and archival work. Both institutional online repositories and collections-based social media sites have fostered unprecedented access to textile collections that have traditionally been marginalized in museums. How can curators, interpreters, and collections managers make best use of these new opportunities? To answer this question, the author worked with sites including the Great Lakes Quilt Center at the Michigan State University Museum, the Design Center at Philadelphia University, the International Quilt Study Center and Museum at the University of Nebraska-Lincoln, and the WGBH Boston Media Library and Archives, as well as user-curated social sites online such as Tumblr and Polyvore, to create four compelling case studies on the preservation, access, curation, and interpretation of textile objects. The book explores: *The nature of digital material culture. *The role of audience participation versus curatorial authority online. *Audience-friendly collections metadata and tagging. *Visual, rather than text-based, searching and cataloging. *The legality of ownership and access of museum collections online. *Gender equity in museums and archives. This book is essential reading for anyone who cares for, collects, exhibits, or interprets historic costume or textile collections, but its broad implications for the future of museum work make it relevant for anyone with an interest in museum work online. And because the focus of this volume is theory and praxis, rather than specific technologies that are likely to become obsolete, it will be staple on your bookshelf for years to come.

The Great Tapestry of Scotland is an outstanding celebration of thousands of years of Scottish history and achievement, from the end of the last Ice Age to Dolly the Sheep and Andy Murry's Wimbledon victory of 2013. The 1000+ stitches spent a total of 55, 000 sewing hours on the 160 panels that make up this extraordinary work of art. This book shows in full colour all the finished panels of the tapestry - one of the biggest community arts projects ever to take place in Scotland - together with descriptive and explanatory material on each panel and lists of all the stitchers involved.

This book is aimed at anyone with an interest in surface design and pattern, whether they are students, hobbyists or professionals. Over 350 images from the last 100 years are presented with informative captions, ordered aesthetically to create a pleasing visual impression whereby contemporary images are displayed next to historical images. The images are drawn from a wide variety of styles, art movements and countries of origin to give an overview of pattern design from the beginning of the last century to the present day. Images include fabric designs and wallpaper patterns primarily, plus some ceramic and other decorative patterns where appropriate. Patterns are chosen from a number of sources, including the archives of colleges, museums and private collections. International fashion houses and notable British designers such as Celia Birtwell and Zandra Rhodes have contributed images. An introduction discusses the predominant key themes that are relevant to the subject of pattern design.