Textile arts and artworks Books

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Book SynopsisDiscover the rich creative possibilities of fragmentation and repair in textile art. Fragmentation and repair are two of the biggest buzzwords in textile and mixed-media art. In this fascinating book, renowned artist Shelley Rhodes explores both concepts, with a wealth of fresh ideas and practical advice. Drawing on her own practice, Shelley explains how she reconstructs and reassembles cloth, paper and other materials to create new pieces, often incorporating found objects and items she has collected over the years to add depth and emotional resonance. From piercing and devoré to patching and darning, techniques include: Fragmentation of materials, text and image. Repair using darning and patching along with pins, tape, adhesive and plaster. The Japanese concepts of wabi-sabi (finding beauty in imperfection) and mottainai (using every last scrap). Using salvaged and recycled materials, and repurposing household items. Methods of distressing and manipulating surfaces including weathering, abrasion, burning, piercing, staining and burying. Collage, working in a series and collecting fragments. Beautifully illustrated with Shelley’s own pieces alongside those of other leading artists, this fascinating book is the ideal companion for any textile artist wanting to bring notions of fragility, fragmentation and repair into their own work.Trade Review‘A wealth of fresh ideas and practical advice … This fascinating book is perfect for crafters wanting to incorporate the “make do and mend” ethos into their work with ease’ -- Sew‘Shelley is very generous with her ideas, techniques and expertise’ -- Alex Messenger * Book Treads *

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Book SynopsisA thoughtful, meditative guide to the ways creative textile art can soothe and comfort us during challenging times.Renowned British textile artists Cas Holmes and Deena Beverley, each well known for their richly textured, deeply evocative work in stitch, collaborate for the first time in this important and timely book. Beautifully illustrated with a wealth of work from both artists along with other embroiderers and textile artists from around the world, Soulful Stitch documents a wide range of stitched responses to crisis, both personal and global.Both authors have recent lived experience of having to navigate new paths through big life challenges, making this book particularly heartfelt. It truly demonstrates how even in the toughest times, creativity in textile art can keep you afloat.

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Book SynopsisIn this visually stunning book, Moy Mackay reveals how you too can create beautiful pictures using felt. Characterised by her wonderful use of colour, Moy’s work is breathtaking and includes still-lifes, animals and landscapes inspired by the dramatic scenery of the Scottish Borders where she lives and works. Moy takes you through every step of the process, including the materials and tools you need, the feltmaking process itself (which is easier than you’d imagine), and how to put together four fabulous felt paintings of your own. There is guidance on stitching, including both hand- and machine-stitching, as well as how to use colour and introduce texture in the form of different fibres and threads. There are numerous examples of Moy’s work through the book, and by the end you will not fail to be inspired to create gorgeous felt paintings of your own. "Moy's passionate use of colour and the deep texture created by felting are what draw me to her work. I also like the way that she concentrates on her surroundings for her subject matter – her work is very free." - Kaffe FassettTrade ReviewWe love this refreshing take on how we can use our own photographs as inspiration, creating unique felt versions. We think its fresh and we are drawn in by Mackay’s passion for her subject. This isn’t an artist simply producing a book for the sake of it, this seems to be her life and love. For the full review click here. -- Ailish Henderson * www.mrxstitch.com *May 12 'Art in Felt & Stitch' by Moy Mackay is a colourful splash of fleece, fibre and thread. The book involves wet felting with wool tops and machine stitching on top of the picture created with it. The book has very clear instructions at the beginning and is excellent if you are thinking of starting to felt pictures. There are six projects in the book with quite a few pages on each one and there is a very clear photographic step-by-step process to follow. What irritates me sometimes about art books is that they can show you how to draw or paint a complex picture and only show four stages. Suddenly they've finished the picture and you wonder how many stages they've skipped over while your picture looks nothing like the final shot in the book. Moy has photographed each stage so if you are a beginner you won't feel lost or frustrated. Each layer is shown and you get a feel for what she has done in each step. Moy explains her inspiration for using felt in the book: "My 'felt paintings', as I call them, are [...] a way of placing the strokes of coloured fibres as one would place brushstrokes. The results are strikingly rich in colour and texture, and as my passion is for colour, there is a great deal of satisfaction to be had from working with this medium in this way." If you love texture and colour I can't imagine why you wouldn't love this book. A three-dimensional soft intricate woollen picture looks amazing and can look more dramatic than an oil painting. * sewingisforgirls.blogspot.com *Summer 13 Vivid colours and dramatic scenery attracted me to this book. Moy’s enthusiastic introduction describes how her love of painting, drawing and ‘making things’ from an early age progressed to ‘create work that utilises colour and subjects in an uplifting, inspiring way.’ Her bio explains that ‘Since graduating from Glasgow School of Art with a BA (Hons) degree in Design, she has lived and worked as a full time artist in the beautiful Scottish Borders, which are the main source of inspiration for her work.’ Moy hopes that her book will inspire and guide you to create in felt, and that through it she can pass on the positive encouragement given by her creative mother and uncle who nurtured her early efforts. The clear contents page outlines a natural progression of topics to inspire even those who have been previously hesitant, to create their own ‘felt painting’. The first few chapters give full details of the materials and equipment required. Chapters with advice on source of inspiration, colour, texture, composition and techniques follow. Projects are grouped under the headings of landscapes, birds, flowers and still life. Clear, easy to follow, step by step instructions accompany photographs to guide you through all the basic techniques. These include the felting process itself as well as how to embellish it to create form and structure with machine and hand stitching. Plentiful inspiring photos of Moy’s own felt paintings enhance the book. I think that this book is suitable for people with all ranges of experience and it has certainly inspired me. Linda Russell, Gwent Guild * Journal for Weavers, Spinners & Dyers *Sept 12 This book is a refreshing take on still life and art. Moy Mackay creates her pictures using felting and stitch and gives guidance in the book on how these beautiful works are created. The book begins with an introduction to all the materials and equipment you would need to tackle this kind of work. There is an interesting section where you can see, via instruction and photographs, the progression from wool tops to finished piece. It is quite surprising that the majority of design work is completed prior to felting, and what follows from that is embellishment. It covers the process of wet felting, needle felting, machine and hand stitching, and how each technique adds to the picture. After the initial tutorial, there are three project sections that cover Landscapes, Birds and Flowers. You are guided through these with step-by-step photographs and there is also a gallery of a series of works to illustrate each section. It is a wonderful book to read, with good clear instruction to guide you, and to see the finished pieces which are so colourful and perfectly executed is impetus for the reader to try their own. * Workshop On The Web *May 2015 Since learning to needle felt I have wanted to take it to the next level. This book takes me to that next level and far beyond. Moy gives you everything you need to make the most amazing felted pictures. She uses everything from needle felting, wet felting & sewing to create the most amazing pictures. She takes you through step-by-step each of the techniques so that you'll be able to create each of the pictures in the book. She also gives you all this knowledge so that you can create your own. II love the pictures that you can create. They look amazing! I haven't used some of the techniques in the book but after reading the instructions I feel confident that I will be able to perform them. Moy's use of colours is amazing. I can't wait to try her colour mixes. I feel they will give me more confidence to use more colours in my own projects. I can't believe the amazing looks she gets from her techniques in this book. I've already ordered the items I'll need to make my first picture. I just hope I can do justice to her amazing book. * Crochet Addict UK *June 12 Moy Mackay creates beautiful works of art using fleece, fiber and threads in her book "Art in Felt & Stitch". It is filled with colorful felt paintings of still-life, animals and landscapes inspired by her home in the Scottish Borders. See how she uses various felt techniques to achieve her paintings. Felt is one of the earliest fabrics and is older than weaving, spinning and knitting. The book itself is a work of art with the fiber colors jumping off the page in the numerous photographs. Four step by step projects are included with instructional pictures that are clear, detailed and inspiring and numerous. Also included are many examples of her finished pieces. Moy walks you through the materials and equipment you will need. She explains about fibers and texture, composition and technique. Wool, bamboo and silk are just a few of the fibers she works with. Learn about needle and wet felting and using machine and hand stitching to strengthen the highlights and shadows and creating depth. Her flowers are lovely and landscapes breath taking. It is her project of the Birds with berries and her felt painting of Waxwing with Cherry and Lime Blossom that will make you sigh. If you have been thinking about trying your hand at felting or felting pictures in particular, you will enjoy every page of her book. * www.examiner.com/knitting-in-hartford *May 13 Moy's passionate use of colour and the deep texture created by felting are what draw me to her work. I also like the way that she concentrates on her surroundings for her subject matter - her work is very free. (Kaffe Fassett) * Author *June 12 This is a lovely book. It is beautifully produced with Moy's felt paintings vibrantly reproduced. The book takes the reader through all the processes beginning with a full description of her colour blending and all materials used in her work. There may be a little too much detail on the techniques of hand carding but that is only a slight criticism. Moy is exceptionally generous with her descriptions and tips, which are scattered around the pages. The reader is taken step by step through all the elements of her work from the designing, preparation, laying of fibres, felting, embellishing, needle felting and embroidery with hand and machine. The projects start with a quite simple scene of bucolic bliss, proceeding onto a patchwork landscape and then on to more complicated designs. These exercises are interspersed with some wonderful nature pieces and landscapes of exceptional beauty. She is a very talented artist and colourist. This is a book which will inspire, delight and instruct and may lead the reader on to experiments of their own or you can just enjoy it for its wonderful images. * Felt Matters *Apr 12 It is fabulous. If you like contemporary art, with vivid colour and lots of texture then this book is for you. There are lots of pictures of Moys work, and plenty of supporting text. Additionally, there are four diverse projects which detail, step-by-step, how to create similar work using felting, embellishing and stitching techniques. I'm awaiting the delivery of some wool and silk tops, so I can get started.-"BushBabyJane", Amazon * Customer *Jun/Jul 12 Moy Mackay's unique and vibrant 'felt paintings' are created by replacing paint as a medium with fleece, fibres and threads and combining traditional felting techniques with fine art. The result is an exquisite fusion of art, felt and stitch that is both up-lifting and inspiring. There is clear guidance through all of the basic techniques, including the felting process itself and how to use machine and hand stitching to further create form and texture. The four projects and numerous examples of Moy's work complete this visual feast, which cannot fail to inspire and excite painters and textile artists alike. * Fabrications *Jun/Jul 12 Hot water and soap have a profound effect on wool. If your favourite sweater has accidentally been treated that way, you are probably less than thrilled with the outcome. But, if the process was intentional, you've probably been experimenting with the art of felting – and creating one of the earliest fabrics known to man. Dry needle-felting using a felting needle or embellisher machine is currently very popular, but the techniques in this book use the traditional wet-felting methods. Every step of the process is clearly described and illustrated with step-by-step photos. The results are simply beautiful and the 'fibre paintings' range from softly impressionistic landscapes to still-lifes of teacups and bold flowers. Needle-felting is used to refine the shapes and simple hand and machine stitching add definition, details and, of course, texture. Moy shares the techniques that she uses to create her beautiful pictures, and every stage is beautifully illustrated with clear photographs. She begins at the very beginning, showing how to card the fibres, lay them down to form the picture and finally felt the piece. When the felting process is complete, more photos show the process of needle-felting to add details and stitching to create definition in the finished piece. There are four projects, which take you through the processes used to create a patchwork landscape, birds, flowers and a still-life (teacup and cakes). If this book doesn't persuade you to explore the creativity of felting, nothing will. * Stitch *Jun/Jul 12 Using fleece, fibres and threads, Moy creates stunning felt ‘paintings’, combining felt-making with fine art in a unique way. Comprehensive step-by-step instructions guide the reader through the basic techniques and continue with four projects, where Moy shows how to use machine and hand embroidery to produce landscapes, still-life studies of flowers and animals. This colourful and exciting book will inspire the felt-maker to try a different approach to their craft. * East Kent Embroiderer's Guild *Table of ContentsIntroduction 6 Materials and equipment 10 Inspiration 20 Colour 22 Texture 26 Composition 28 Techniques 30 Landscapes 52 Birds 76 Flowers 92 Still life 110 Index 128

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Book SynopsisOne of the most distinctive features of Islamic design is the evolution of an increasingly abstract and repetitive repertoire of motifs, which are shared among all media – metalwork, woodwork, ceramics, tilework and textiles. In textiles the main themes are based on angular and geometric shapes – vertical and horizontal striped bands; hexagons and octagons, which can be linked and infinitely extended; stylized and rhythmic scrolls of foliage and flowers; and Arabic calligraphy, of which the letters can be formed into continuous borders, panels and medallions. These motifs can be used separately or combined into complex patterns, of which the repetitive and two-dimensional features are ideal for textile production, especially where varying lengths are required – for hangings, curtains, robes and shawls. Valued for their role in the subtleties of court ceremonial and fashion, these textiles were also much admired beyond the Islamic lands. The exceptional collection published here ranges widely in region, material and technique. There are textiles and garments from North Africa, Syria, Arabia, Iran, Turkey and the Indian subcontinent linked by a shared vocabulary of ornament – evidence of the international nature of Islamic design. Materials represented are silk – the most prestigious of fibres, requiring highly respected weavers – wool, cotton and linen. Decoration is based on variations of weave and colour and embellishment through embroidery, printing and appliqué and illustrates the work of both professional and domestic workers. The strengths of the collection are concentrated in the textile production of the nineteenth and early twentieth centuries, which, thanks to the basically conservative nature of textile technique and design, preserve and continue the traditions established in the medieval Islamic world. They are important in an assessment of Islamic textiles both for their quality and as illustrations of survival and adaptation in a major industry. Their heritage reaches back well over a thousand years, even though their very high perishability means that for the earlier part of the tradition our knowledge is reliant very largely on written sources. These, however, attest to the superb quality and quantity of textiles at the courts of the period.Trade ReviewBeautiful … a must for anyone interested in the history of Middle Eastern and South Asian textiles and garments, as well as those seriously interested in the history and development of textile technology and design in these regions. * Textile Research Centre *

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Book SynopsisRick Owens remains one of the most daring and influential fashion designers working today. This new book of photographs describes an exceptionally fertile and transformational period in his career, one that saw him experiment with new shapes, the application of new materials, and an unprecedented use of color.Lavishly documenting men’s and women’s collections and featuring Owens’s continuing collaboration with the photographer Danielle Levitt, this book is an unabashed love letter to one of the most devoted followings in contemporary fashion.Picking up where Rizzoli’s previous monograph on Owens’s work left off, looks from his critically lauded homage to the rock-and-roll designer Larry Legaspi set a frenzied visual pace that never lets up—right through the pandemic, when Owens memorably staged shows on the Lido di Venezia.Here, the continued evolution of nearly three decades of Owens’s “grunge-meets-glTrade Review"Documenting Rick Owen’s longtime collaboration with photographer Danielle Levitt, this latest book (which picks up where 2011’ Rick Owens left off) captures the rock-and-roll-meets-glam approach that the designer has been known for throughout his 30-year career." —THE ZOE REPORT "An oeuvre as revolutionary as Rick Owens’s could never be contained in just one book. That’s why we need More Rick Owens, the follow-up to the designer’s eponymous 2019 monograph. Through the precise lens of Danielle Levitt, Owens’s daring recent looks come into sharp focus. Alien headpieces and off-kilter silhouettes are tamed through impeccable tailoring and visionary detail. The typical goth-glam aesthetic of the anti-fashion designer is reinvigorated with splashes of color, while unexpected materials—think fish hides and goat hair—propel his work squarely into the realm of the avant-garde. Nearly three decades into his career, Owens continues to leave us begging for more." —V MAGAZINE"In a continuation of his first volume of photographs, the designer Rick Owens teams up with the photographer Danielle Levitt to delight in provocation. Prepare for louche poses and leather, daring silhouettes and spikes." —NY TIMES"A new Rizzoli tome — “More Rick Owens,” Owens’s second with the publisher — captured by his longtime collaborator, photographer Danielle Levitt, features some of his most audacious collections on those subjects, made between 2019 and 2023. It includes what Owens calls “our covid quartet”: four shows that Owens produced during the height of the pandemic." —THE WASHINGTON POST"More so than many comparable titles on other designers, the physical production of the volume beautifully reflects the essence of the Owens brand: the cover is raw cardboard with unfinished edges; the title is understated and small but gorgeously embossed, blending rich black ink with luminescent metallic in a clean, sans-serif, ultra-modern typeface. This blend of restrained, cool modernity with rugged utilitarianism is an overarching theme in Owens’s work, and echoing it in the actual materiality of the book was a wise move by Rizzoli. It makes it the too-cool volume to add to your coffee table stack, the book that will make you feel very Berlin or—dare we say—Scandi (an interesting complement given that Owens is, himself, from California)." —NY JOURNAL OF BOOKS

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Book SynopsisDiscover 65 beautiful Japanese-style fabric flowers to make from French artist Sylvie Blondeau. Projects include clear instructions with stunning accompanying photography. 'Japanese Fabric Flowers is one of those books that is just a joy to look at. The beautiful designs are stunning and really amazing', Tracy Shephard Postcard Reviews The Japanese word 'kanzashi' originally referred to decorative pins as part of the traditional female hairstyles. These pins were often works of art in themselves, holding in place elaborate floral arrangements made with natural or silk flowers. Today, kanzashi encompasses flowers made from regular fabrics. Sylvie Blondeau shows you how to make 65 of these simply stunning designs. The projects are so easy and fun to make that you will soon be making them for every occasion! They are perfect as accessories on clothing, jewellery, home decorations or table adornments for special occasions.Trade ReviewKanzashi flowers are a traditional Japanese craft originally used as a hair ornament. In this collection, French costume designer Blondeau presents the basics of kanzashi making, including designs ranging from simple to complex. Basic kanzashi flowers require simple supplies that most sewists will have on hand—fabric scraps (medium-weight fabrics such as cotton poplin or raw silk are ideal), fabric glue, and a hand sewing kit. As the flowers become more complex, kanzashi flower makers, which are plastic templates in five different shapes corresponding to a specific petal type, are used. Flowers can be finished with beads or buttons and incorporated into numerous projects, including jewelry or handbags, or used as an embellishment or an accessory. Step-by-step directions for sewing 16 different kanzashi are provided; 12 projects supply ideas for using the finished flowers as well as further variations. VERDICT Crafters with an interest in embellishment or in traditional Japanese crafts will enjoy this collection. * Library Journal USA *I adore fabric flowers and I am always amazed by the very effective and beautiful results achieved by the manipulation of small pieces of fabric. Kanzashi is the Japanese art of making these divine creations, and even though they look intricate and difficult to make they really are quite simple. Use them to adorn your bags, hats and home decor, you can even make earrings and necklaces which could be given as gifts to your favourite friends. Japanese Fabric Flowers is one of those books that is just a joy to look at. The beautiful designs are stunning and really amazing. Each design has a pattern, including tools needed and extra advice on cutting your fabric and even using embellishments. Templates are included and with simple visual diagrams there is no reason for you not to create something wonderful. This is a beautiful craft and well worth the effort as the final results are just stunning. -- Tracy Shephard * Postcard Reviews *Wow 65 different flowers to decorate things with. Sylvie brings together her skills to show you how to make beautiful flowers that can be easily be made with regular fabric. Not only does Sylvie share her step by step instructions to make beautiful flowers you also get step-by-step instructions for making different projects to add your flowers to. Sylvie explains the history behind these beautiful flowers and talks you through creating and using templates. Some of the flowers use the clover kanzashi (the name of the beautiful flowers) flower makers. These templates make it easier for you to make matching flowers all the time. In the book clear instructions are given so that you can make the flowers very easily. Each of the 65 designs have their own look Some look like specific types of flower and others are unique. Sylvie also takes you through using other materials to finish off your designs. You can use everything from buttons to chain. The book makes the flowers in multiple colours to create different designs. Plain fabric is used and then on others patterned fabric is used to create a completely different look. The flowers are fantastic to make with scraps of fabric and can be easily altered to match your decor or outfit. With so many flowers to make and so many projects to use them on this book offers so much. The book is full of amazing colours! For the full review and images please visit: www.crochetaddictuk.com * Crochet Addict UK *Kanzashi flowers are those beautiful fabric flowers associated with traditional Japanese hairstyles, especially those of geishas. They are not hard to make, and can be used to adorn more than hair decorations; they are also a great way of using up oddments of fabric. This book, translated from the French shows you how to make both the styles with just fabric, and those using the plastic Clover Flower Makers. There are sixteen different flowers to choose from, plus the more Western yoyo (aka Suffolk puff), rosette and padded “pumpkin” shape reminiscent of pincushions. Each flower has a series of captioned diagrams that are well laid out on the page but would be even better if they were all in a dark line color rather than red, pink or orange. There is a handy gallery of all the finished types, and then it is on with the projects. All these are illustrated with large photographs, often giving more than one view of the finished piece and separate parts. The print is quite small, and instructions don’t always feature staged diagrams so some sewing experience is essential for the more challenging projects. You won’t find any Japanese style hair decorations in here and the hanging “falls” are omitted, but instead there are many ingenious ways of using the flowers to decorate all kinds of other things. These are beautiful and unusual – waterlily table decorations, lots of jewelry, Christmas decorations, Peter Pan collar with flower and a crafter’s bag to name some. If you have always wanted to make your own kanzashi this is the place to discover how, and also how they fit into modern Western life. * Rachel Hyde - Myshelf.com *Great value book with full colour photos and instructions to make 65 fabulous flowers. Some you can make with card, for others it recommends a template maker. Love the ideas and end results in this book. Use your fabric stash and scraps, you need 3 inch diameter circles. You learn the basics first - rounded petals, pointed petals and so on and then specific flowers. I love them all. Easy to make flowers that match your handmade outfits. * Karen Platt- yarnsandfabrics.co.uk *

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Book SynopsisA lavish show case of fine art featuring 51 celebrated fibre artists from around the world.

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Book SynopsisRozsika Parker''s re-evaluation of the reciprocal relationship between women and embroidery has brought stitchery out from the private world of female domesticity into the fine arts, created a major breakthrough in art history and criticism, and fostered the emergence of today''s dynamic and expanding crafts movements.The Subversive Stitch is now available again with a new Introduction that brings the book up to date with exploration of the stitched art of Louise Bourgeois and Tracey Emin, as well as the work of new young female and male embroiderers. Rozsika Parker uses household accounts, women''s magazines, letters, novels and the works of art themselves to trace through history how the separation of the craft of embroidery from the fine arts came to be a major force in the marginalisation of women''s work. Beautifully illustrated, her book also discusses the contradictory nature of women''s experience of embroidery: how it has inculcated female subservience while providing aTable of ContentsAcknowledgments Introduction 2009 1 The Creation of Femininity 2 Eternalising the Feminine 3 Fertility, Chastity and Power 4 The Domestication of Embroidery 5 The Inculcation of Femininity 6 From Milkmaids to Mothers 7 Femininity as Feeling 8 A Naturally Revolutionary Art? Notes to chapters Bibliography Glossary Index

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Book SynopsisWhether it's a landscape, a garden, an animal or a powerful memory of a place or object, Jan shows you how she develops them all into beautifully stitched representations that exude awe-inspiring detail, colour and expression. Jan begins the creative process by collecting and storing natural items and exploring different patterns, texture, media and markings to cultivate her final design. She uses simple yet effective methods for altering fabric prior to stitching, including dyeing, embellishing and stamping, then transforms her fabric into a vibrant, textured artwork using a combination of traditional hand stitching, machine stitching, and other media. Following a fascinating, illustrated step-by step chapter on Jan's key techniques, join her as she takes you through the stages of three types of work for which she is most renowned: the stitched landscape, the memory cloth and the bird sculpture. Each project also includes a break down of the materials, tools and techniques used, so that you can understand as well as see the development of her astounding, mixed-media creations. Throughout the book, a gallery of Jan's work complements her techniques and projects, providing inspiration for your own textile artwork. These are stunning pieces that will open your eyes and turn your own creative concepts into original, personal work.Trade ReviewThis book is such an inspiration, as Jan shares fascinating information about how she prepares and creates her projects. There is so much detail in her Expressive techniques, including Dyeing fabric & threads, Printing, Stamping & stencilling, Embellisher, Appliqué, Free-motion embroidery, Expressive hand stitches, Historical & world sewing techniques plus Experimental embellishments. This is then illustrated through her beautiful Expressive Projects including Stitched Landscape, Stitched Landscape Gallery, Memory Cloth, Memory Cloth Gallery, Bird Sculpture, Bird Sculpture Gallery. A wonderful creative book! Highly Recommended! * Hot Brands Cool Places *An experienced tutor, Jan Dowson has covered a lot of ground with this book, which takes an in-depth look at ways of using stitch to express an idea or portray a mood. Beginning with sections on materials (including basic art supplies for mixed media), inspiration and an excellent section on recording, it also covers colour, markmaking and hand and machine stitch. The section, ‘Developing expressive work’, covers initial design and the colouring of thread and fabrics. The basics of printing, stamping, and using stencils, are touched upon before we move on to the delights of the embellisher and sewing machine. This section also covers stitch techniques such as free machining, appliqué, and hand stitching. It is in the last of these that I feel we come to the heart of Jan’s work with some delightful finished pieces and small samplers illustrating the stitches shown. There is a section on ‘Expressive Projects’ and, while not a fan of projects, I can see the logic in Jan’s assertion that they can be a great starting point for a more personal piece of work geared to the interests of the reader. I like the way Jan has pulled together the previous sections of the book here, with step-by-steps on landscapes and memory cloths. It’s easy to see how your own versions of these could interpret your own expressions of landscape and memory. The small section on using ‘experimental embellishments’ such as feathers, twigs and so on, merited more than just a double-page spread. I enjoyed the book for its honest, down to earth approach, relying less on quick fixes and more on feeling and emotion. You are probably familiar with most of the techniques but Jan’s wise words about your relaxing into your stitching (especially hand stitching) and shutting out the world for a while have special resonance in these troubled times. -- Maggie Grey * D4Daisy.com *Jan has taught City & Guilds creative textiles for many years. In this book she takes the reader through the process of making sketchbooks through to developing these ideas into works of textile art. It is suggested that sketchbooks be torn, dyed and aged to add interest and inspiration. Reusing old fabrics and threads is encouraged. Dyeing, printing, stencilling and stamping are all frequently used, as is embellisher to secure fabrics together and add texture. Stitched landscapes, memory cloths and bird sculptures are suggested projects with advice on techniques and step by step instructions. Independent artistic development is encouraged. This is an excellent book for those wished to explore the world of textile art. * British Patchwork & Quilting *A no-rules guide to creating original textile pictures focused on developing creative ideas; packed with prompts and instructions for making the most of expressive textile techniques. * Embroidery The Textile Art Magazine *When a book guarantees awe-inspiring results, it's hard not to be curious – and we sure are glad we took a look inside this one. The pages are filled with step-by-step instructions, guiding you through how to create magnificent stitched representations of some of your happiest memories. Author Jan Dowson is an award-winning textile art tutor and artist, so you can be certain you're learning from the best. * Sew Magazine *If you’re looking for a new project or want to try your hand at a different hobby, how about textile art? Recreate beautiful stitched representations of everything from a landscape to bird sculpture. Jan Dowson covers everything, from altering fabric prior to stitching, including dyeing, then combines traditional hand-stitching and machine stitching to stunning effect. Once you follow the step-by-step instructions for these projects, you may just be encouraged to create your own. * The People's Friend *Wow! This book arrived through the door and I picked it up for a quick flick through, intending to set it aside for a proper read later. An hour later I am still devouring all the fabulous detail and textures! Inspiration is flowing and I can’t wait to get back to my sewing table. The 3D birds are amazing! -- Hannah Wisdom * Amazon Customer Review *Whether it’s a landscape, a garden, an animal or a powerful memory of a place or object, Jan shows you how she develops them all into beautifully stitched representations that exude awe-inspiring detail, colour and expression. Jan begins the creative process by collecting and storing natural items and exploring different patterns, texture, media and markings to cultivate her final design. She uses simple yet effective methods for altering fabric prior to stitching, including dyeing, embellishing and stamping, then transforms her fabric into a vibrant, textured artwork using a combination of traditional hand stitching, machine stitching, and other media. Following a fascinating, illustrated step-by step chapter on Jan’s key techniques, join her as she takes you through the stages of three types of work for which she is most renowned: the stitched landscape, the memory cloth and the bird sculpture. Each project also includes a break down of the materials, tools and techniques used, so that you can understand as well as see the development of her astounding, mixed-media creations. Throughout the book, a gallery of Jan’s work complements her techniques and projects, providing inspiration for your own textile artwork. These are stunning pieces that will open your eyes and turn your own creative concepts into original, personal work. This book is such an inspiration, as Jan shares fascinating information about how she prepares and creates her projects. There is so much detail in her Expressive techniques, including Dyeing fabric & threads, Printing, Stamping & stencilling, Embellisher, Appliqué, Free-motion embroidery, Expressive hand stitches, Historical & world sewing techniques plus Experimental embellishments. This is then illustrated through her beautiful Expressive Projects including Stitched Landscape, Stitched Landscape Gallery, Memory Cloth, Memory Cloth Gallery, Bird Sculpture, Bird Sculpture Gallery. A wonderful creative book! Highly Recommended! * mycreativenotebook.co.uk *Jan works intuitively and strongly believes there are no rules for creativity, focusing in the freedom of working naturally and organically, with a view to developing ideas that will produce unique and exciting results. Jan's book is full of colour and its has been a welcome contrast to several grey lockdown afternoons. It is a beautiful publication with high quality photography and easy to read text. This book encourages you to explore a variety of simple and effective methods to prepare a sketchbook, ways to alter fabric with dye, stamping, adding mixed media marks and texture. The expressive hand stitches section was excellent with many different ideas to use familiar stitches, such as chain, straight and fly to achieve very interesting shapes, patterns and textures. Three projects are included and as for the rest of the book the instructions and photographs for these are very clear and easy to understand. 'Stitched Landscape' and 'Memory Cloth' were my favourite projects. These both start with a design or thought in a sketchbook, methods for using fabric and stitch. A gallery of Jan's work complements these projects adding more inspiration for your own individual work. I admired the 3D project, 'Birds, Birds, Birds' and although not to my taste the techniques used could lead you to develop many ideas for fantastic bird creations. However, I do have a fondness for 'Woody the Wood Pigeon'. The work in the book is stunning and encourages the stitcher, whether they are just beginning their stitch journey or have been around the block a few times, to look at the use of fabric and stitch in a different way. Basically, simple but extremely effective. This is a book that you should find space for on your bookshelf, it will certainly find a home on mine. -- Carol Winter * Book Threads Magazine *I have most of the Textile Artist Collection, so adding this to my collection was a 'MUST'. Beautifully illustrated with easy to follow instructions. It's such an inspirational book. Loved it so much, I have given it away to my sister and ordered another copy for myself. -- Pauline May Carr * Customer Review *This book gives the reader a great deal of information and guidance to help them create unique textile art pieces. It is really informative and explains how to achieve various effects using all sorts of materials. It has sections dedicated to where to source materials through to how to combine techniques to create a finished piece. The illustrations are particularly good and I believe anybody interested in textile art will find it truly inspirational. I like the fact that it shows you how to do things without stifling individual creativity. -- Shirley Sullivan * Amazon Customer Review *A lovely book. A mixture of techniques and inspiration. Love the 3D birds. -- Sandra H Cutts * Customer Review *Table of ContentsIntroduction Tools & materials Fabrics, Threads, Stitching tools, Mixed media Inspiration Places, Walks, Collections Recording Ideas, Creating a unique sketchbook, Playing with Colour, Marking making Developing expressive work Making a plan, Preparing your fabric Expressive techniques Dyeing fabric & threads, Printing, Stamping & stencilling, Embellisher, Appliqué, Free-motion embroidery, Expressive hand stitches, Historical & world sewing techniques, Experimental embellishments Expressive projects Stitched Landscape, Stitched Landscape Gallery, Memory Cloth, Memory Cloth Gallery, Bird Sculpture, Bird Sculpture Gallery Conclusion Index

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Book SynopsisA groundbreaking, informative, and thought-provoking exploration of fur’s fashionable and controversial historyTrade Review“Comprehensively and sensitively researched...An invaluable resource for those interested in materials of all kinds and fascinated by fashion’s ever-shifting transformations.”—Sarah E. Braddock Clarke, Selvedge“Fur: A Sensitive History is an exceptionally successful book in that it takes on an incredibly complicated material and provides readers with a solid understanding of the complex history of fur when no other book exists on the topic.”—Carson Poplin, Journal of Dress History“The volume lives up to the sensory nature of the subject and is attractively designed and illustrated with extensive colour and black and white photographs...This makes the book a pleasure to look at and read, while the juxtaposition of images from different time periods and disciplines inspires reflection and comparisons.”—Danielle Sprecher, Journal of Design History

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a huge range and FREE tracked UK delivery on ALL orders.

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Book SynopsisA creative guide to a unique and beautiful form of Korean art, steeped in ancient tradition.Bojagi are textiles that wrap, cover, carry, or store objects. Some are made from whole pieces of fabric and some are patched together from small scraps of cloth - they are a unique form of Korean textile art. The careful arrangement of shapes and colours shows an abstract composition which has made bojagi popular with textile artists and quilters today. In this book, experienced artist and educator Youngmin Lee gives you comprehensive step-by-step instructions on traditional bojagi techniques and materials, and provides a history of the art form in Korean culture - which dates back to the Joseon dynasty - where it continues to occupy a prominent place in the daily lives of Koreans. Learn hand stitch techniques, seam finishes and decorative motifs on a range of materials from ramie, hemp and cotton to silk and naturally dyed, eco-printed materials.Youngmin intr

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Book SynopsisArtist and photographer Rudi Molacek has assembled, with an artist's eye, an idiosyncratic collection of more than 300 Tibetan carpets, rugs, mats, seat-, bench- and saddle-covers. Between the 15th and the 20th centuries they were woven for both sacred and secular purposes by Tibetan nomads and villagers, and in the shadow of monastic centres across the Tibetan Plateau. The first volume presents Tibetan rugs intended for sitting, sleeping, meditation and horse riding, as well as those made to furnish the region's prestigious temples and monasteries an expression of the relative wealth and status of their owners. The second volume focuses on a group of so-called Wangden' rural rugs, characterised by a unique weaving technique, some of which have been the subject of an illuminating exercise in radiocarbon dating to establish the antiquity of the tradition.

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Book SynopsisIn the far east of France, close to the German and Swiss borders, lies the historic city of Mulhouse. During the early 19th century, it became one of the leading centres of textile manufacture in the country. Today it is home to the Musée de l'Impression sur Étoffes, a museum dedicated entirely to the history of fabric printing from the 17th century right up to the present day.Few are the serious fashion designers who have not come to visit this astonishing temple to textiles. This book, however, gives you the key to those vaults, presenting on its broad pages perfectly captured images of its collections that span four different continents recounting a fascinating artistic and technological adventure across the world, from its origins in India to the most contemporary creations.Across two volumes, you'll discover nine luxuriantly illustrated chapters that being to glorious life a chronological and thematic overview of the Musée's unprecedented retrospective

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Book SynopsisThis fun, quirky book is packed with 25 gorgeous, colourful skirts for adults up to size UK 20/US 16 and children from 2 years old. Using the clear explanation, useful sketches and beautiful pictures to guide you, choose from A-line, bell, circle, straight, gathered, wraparound and elasticated styles, and also learn how to add underskirts and create maternity wear. All the skirts can be easily customised using the full-size pull-out patterns and each is shown made from several different fabrics and with different trims to inspire you to follow your own personal tastes. With tips on stitching, advice on choosing fabric and a comprehensive guide to cutting and using the patterns, Madame Zsazsa will show you exactly how to create your own fun and flattering designs!Trade ReviewI thoroughly enjoyed reading this book before attempting a pattern. Although I have dabbled in skirt making before, I thought to give this book the best review I would follow the instructions as they were. At times this left me in a bit of a middle where things didn't line up as much as I expected, although later found this was my fault not the book! So please ensure you read the instructions properly unlike me! Haha I have now made several skirts for my children using patterns from this book and they have all come out lovely. -- April Whittington * Customer Review *Dutch blogger Zsazsa presents numerous variations on a favorite beginner project—skirts—in this circus-themed collection of patterns for women and girls. Beginning with a basic elastic-waist skirt, She introduces additional details, such as zippers, knit-fabric waistbands, piping, and trims, to give each skirt a unique look. Patterns are provided for sizes ranging from children’s two through adult 16, with further customization possible based on Zsazsa’s suggestions. Options include pencil, A-line, wraparound, pleated, and bell skirts, as well as a maternity skirt with a stretchy panel and a girls’ skirt with a side tie. VERDICT Beginning sewists interested in exploring the basics of garment sewing will find numerous options in this fun collection * Library Journal USA *I think even if you are just starting or you are a confident sewer you will find something in this book. It includes patterns for both adult and children skirts but although the patterns provided are for specific age I think if you have a little bit of experience you can adjust them to the size you want so you can make matching skirts for example. The skirts all look very summery and relaxed. With the right choice of fabric you can make a very fun wardrobe ready for summer! Overall a great book! If you are getting into sewing or you know someone starting now it think it's worth getting it! -- Sophia Komnino * Customer Review *Wow, this truly is an emporium of wonders! The Book, which comes with full patterns ranging from child to adult, has a range of wonderful different types of skirts. The making of each skirt is described in detail and the range goes from simple to slightly more complicated making an ideal "course" in how to create your own wardrobe of skirts. Madame Zsazsa has created a book full of skirt patterns which si sure to keep your coming back for more and I can see some of these patterns becoming firm favourites to go to time and time again. -- Sian Lawton * Customer Review * An easy and enjoyable read from the start even for someone who knows about sewing. Love the part about you need a tape measure to put round your neck to make you look like a real professional. Good tips and sewing essentials for beginners. I am going to start on the pleated shirt with an angled yoke on page 134 with some lovely denim with pink design for my grandaughter. Each skirt is made to look so easy with good instructions and ideas to customise. Patterns do not have for seam allowance. -- Julie Snook * Customer Review *This book gives detailed instructions and full sized patterns to make 25 skirts. These are for adults and children - so something for everyone. The book is very informative and easy to understand. It would be ideal for people starting out making their own skirts and also for people looking to have many patterns in one place. I will definitely be making a couple of the skirts from this and also using it as a reference book to remind me of how to use patterns and complete wonderful garments. -- Lynne Harvey * Customer Review * I am really pleased with this book. The photos are bright and full of colour, showing all the skirts off. I like the idea that I can make any of the skirtsskirts for my daughters or myself. The instructions are clear and I am pleased to see that Madame Zsazsa explains how to lengthen any of the skirts. I would recommend this book to anyone who wants to make a number of different skirts, even a beginner. -- Alison Stevens * Customer Review *I love this book. The patterns are clear & easy to follow. Great idea to include patterns for both children & adults, although I'm quite sure my daughter would have been horrified to be wearing the same skirt as her mother! -- Lesley Ann Evans * Customer Review *Table of ContentsThe very very beginning 5 How should I use this book? 6 What do I need to know already? 6 A highly in-depth sewing course lasting around a quarter of an hour 8 The skirt-making sequence 11 1. Take your measurements 12 Size table 13 2. Pick a skirt, a fabric and a few accessories 16 3. Cut out your chosen pattern on paper 21 Pattern sections 22 Pattern sheets 23 4. Cut the pattern out on fabric 26 5. Sew it together! 31 Lists and other things 35 What does that mean? Abbreviations and symbols 35 Techniques 36 The skirts and instructions 39 Elasticated skirt 41 A-line with facing 47 The zip that jumps out at you 54 Strip skirt 56 A-line with piping 58 Underskirts 62 Skirt with jersey waistband 64 Maternity skirt 68 Elasticated panel skirt 72 Panel skirt with zip and facing 76 Bell skirt 78 Bell skirt in stretchy fabric 84 Skirt with button strip 88 Wraparound skirt 94 Jersey wraparound skirt 99 Straight skirt 100 Circle skirt - the pattern 104 Elasticated circle skirt 108 Circle skirt with zip 110 Gathered skirt with stretchy waistband 114 Gathered skirt with normal waistband 118 Bow skirt 124 Pleated skirt 128 A-line gathered skirt 136 Gathered skirt with button strip 142 All-in-one skirt 146 The models 154 Acknowledgments 157 Index

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Book SynopsisFinally, there's a headwear solution for fashionable felines and a practical use for accumulated shed hair. Cats in Hats contains step-by-step instructions for constructing stylish hats out of excess fur, so your cat will soon be the belle of the furball as they transform into a magical unicorn, ferocious lion or even a birthday cake!Welcome to Cats In Hats and admire the overwhelming cuteness of popular Instagrammers Rojiman and Umatan's cats in their tiny cat-hair hats.Is your cat a diva? Maybe it's time to make her a crown! Or perhaps he's a bit of a prankster put on a joker hat! There's one for every occasion, from birthdays to graduation. Don''t miss the Animal hats, from Elephant to Koala. Celebrate every annual festival with a Halloween Witch hat, Easter Bunny hat, and more. And amaze your cat with a character hat. From Princess Leia to Sherlock Holmes, whatever your cat''s personality, we have a hat for them.With 300 hand-drawn step-by-step instructions for constructing 25 adTrade Review Praise for Cats in Hats ‘With detailed instructions and tips to make everything from witch’s hats to bunny ears, flower wreaths to crowns, there is truly a cat hat for every occasion in this niche but laugh-out-loud book.’ – The Daily Mail

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Book SynopsisThe first publication devoted to the textile designs of one of the twentieth century’s greatest artists, showcasing a rarely discussed aspect of the Pop Art superstar’s careerTrade Review“A new exhibition at the Fashion and Textile Museum in London, together with a book by the curators, . . . showcase for the first time Warhol’s lost and virtually undocumented designs for dress fabric, which the artist produced in New York during the booming postwar years.”—Helen Barrett, Financial Times“To see [Warhol’s] pre-Pop creations helps to contextualise him in a new, illuminating way.”—Kathryn Reilly, World of Interiors“Beautifully printed, this is a book of real quality that allows the work room to sing.”—World of Interiors

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a huge range and FREE tracked UK delivery on ALL orders.

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Book SynopsisThis book offers a whistle-stop guide to the history of leathercraft and tanning. The story begins in prehistory when people discovered, perhaps by chance, that skins exposed to smoke or accidentally soaked in autumnal puddles lasted longer. Skins were a valuable resource, used for everything from clothing to shelter, blankets and vessels. The book looks at evidence that shows us how tanning and leather continued to be of prime importance across the globe throughout history, in economic as well as functional terms. The second part of the book brings us up to date, via interviews with modern day leather crafting artisans. These leather crafters generously allowed the author access to their studios and discussed the way they use and adapt traditional methods, techniques and tools for the twenty first century. Photos of their craft, and their working environment offers a unique window into the world of leathercraft. Finally, if you are inspired to try your hand at this fascinating and most ancient of crafts, the book also has a resources section. It includes a valuable list of suppliers of leather, dyes, tools and tanning materials, as well as information about training courses, useful websites and more-everything you need to get started.

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Book Synopsis Digital Textile Design, Second Edition covers everything students and practitioners of textile design will need to learn about designing and printing digitally. The book examines how designers can access this technique, looking at the work of those currently exploring its possibilities, and provides an insight into the technology involved in digital textile printing.

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Book SynopsisDesign and sew your own gorgeous, unique skirts, with no need for shop-bought patterns. Start by creating your own block and toile using just four body measurements. Then select your skirt shape, add the fittings, fastenings and details you want, and put the whole thing together with ease. With clear step-by-step photography and easy-to-follow instructions, Jenniffer Taylor (of The Great British Sewing Bee) will show you how to mix and match the design elements you really want to make your perfect garment; choose from A-line, flared, gathered, pencil and pleated shapes, and from pockets, zips, buttons and yokes. The book contains 10 inspiring skirt options to get you started... but it’s your skirt, your way, so fill your wardrobe with an array of gorgeous skirts that fit you perfectly and suit your style!Trade ReviewJenniffer Taylor first flew into my radar when I saw her on The Great British Sewing Bee, and I thought she was amazing. Very much an advocate of the term ‘you size‘ she has since developed a range of hand drafted patterns unique to your very own shape and size. Using just four of your body measurements, with the help of this book you can create a garment that is well fitted and tailored to your body. Like most of us home dressmakers, Jenniffer is self taught, but what she teaches us is that anyone can have a go and make a wearable piece of clothing. She has also ensured that whatever our individual style, our finished piece will fit perfectly and give us confidence that it will look good. From drafting your pattern to the fastenings, everything you need to know is included and helpful tips guarentee a professional finish. This book is a must have for everyone who loves to make their own clothes. -- Tracy Shephard * Postcard Reviews *Draft your block, choose your shape, and customise your own design says Jenniffer Taylor! This brilliantly simple book teaches you exactly how to design and create your own gorgeous skirts, with no need for shopbought patterns. Start by creating your own block and toile using just four-body measurement and then select your skirt shape, add the fittings, fastenings and detailsyou want, and put the whole thing together with ease! With clear step-by-step photography and easy-to-follow instructions, Jenniffer will show you how to mix and match the design elements you really want to make your perfect garment. Choose from A-line, flared, gathered, pencil and pleated shapes, and from pockets, zips, buttons and yokes. This book contains 10 inspiring skirt options, but remember it’s your skirt, your way! * www.thepatternpages.com *Mix and match design elements to make a perfect garment. The book contains ten skirt options to get you started and fill your wardrobe with gorgeous skirts that fit perfectly and suit your style! * Machine Knitting Monthly *Looking for a totally unique skirt? Well, you're in luck, as this must-have manual by author Jennifer Taylor, of The Great British Sewing Bee fame, shows you how to mix and match elements to create your ultimate garment. Whether you prefer a pleated mini or an A-line maxi, there's something for every style - plus a whole range of options for pockets, zips, buttons and yokes, too. * Sew magazine - December 2020 *Although I have sewn since I was a teenager, I’ve never drafted a pattern. I’m not a conventional shape so always have to tweak patterns and skirts never quite work for me, hence my interest on this book. Skirts are the easiest patterns to draft, ideal for a first go at drafting. At the start of the book there are sections on fabrics, sewing tools and drafting tools. The author then splits the book into three main sections: 1. Constructing the basic skirt block then altering for six variations on shape. 2. Techniques and some extra details. 3. Skirt ‘recipes’, where you can mix up the techniques and details. Taylor makes constructing the block (Americans call it a sloper) very understandable by breaking it down into bite sized steps. Correct body measurements are crucial and she explains how best to take them and where. (E.g. where do you measure for hips and waist? And how should you determine length?) Although I haven’t made a block yet, I’ve read through the instructions, which are very detailed and are easy to understand. Take them slowly and make sure you read through before starting to carry them out. She includes making a toile (practice garment, Americans call this a muslin) and then checking the fit and how to fine tune it. The main reason for making your own blocks is to ensure a nicely fitting garment. The next section shows how to alter the basic skirt shape to create a further five skirt shapes, such as a pencil skirt and a flared skirt. Taylor goes on to explain techniques such as a traditional waistband, facings and zips. Two zip insertions are shown, one is a centred zip. The other is a fly zip which is less common and ignored in many other sewing books. (I’m looking forward to trying it her way.) Invisible/concealed zips are mentioned but not shown. Techniques such as pockets, hems, a back vent and yokes were dealt with before the skirt recipes. There are ten suggested skirt styles, but many of the components can be swapped around, added, taken off etc. So you really have a multitude of variations to personalise your skirt for you. I like Taylor’s approach of using a scaled down/mini mannequin to show the various component shapes and how they make up a skirt. Genius! It’s much easier to understand than using full scale body sized mannequins. The skirts shown have a definite retro vibe, helped perhaps by some unusual fabric combinations. Fabric choice is all important, and most of the fabrics used are mid to heavy weight woven. For me, although my favourites are too short, instructions are there to lengthen them. Would I buy the book? Yes – for the pattern drafting, and components styles, rather than the sewing techniques. I’m excited to get my pattern paper and tackle the jeans style skirt, Bobbie (but longer!) -- M Jones * Amazon Customer Review *Clearly written and illustrated. I'm an experienced dressmaker but would usually only work from a pattern, this book has given me the confidence to make my own block and also inspired me experiment altering my existing patterns. -- Bernadette McGowan * Amazon Customer Review *The opening parts of the book give a comprehensive overview of the equipment needed and terms used in dressmaking. Although I have many years of experience in dressmaking, I have never tried to draft my own pattern and it was this part of the book I was most interested in. I found the instructions for making the basic skirt block easy to follow and then went on to make a toile as the author recommends. I carried on and then made up the toile into a proper garment as the fabric I'd picked was suitable and was very satisfied with it. Although I haven't yet made any of the other styles I have read the instructions and I'm confident I could make them successfully. I particularly liked the suggestions on customising touches such as the pockets and will definitely use these in the future, definitely a worthwhile buy. -- Hilary Guthrie * Amazon Customer Review *Table of ContentsIntroduction 6 How to use this book 8 Getting started 12 Basic sewing kit 12 Dressmaking essentials 15 Drafting tools 16 Fabricology 18 Your body, your block 22 What is a block? 24 What is a toile? 24 What details should I include? 25 Taking your own measurements 26 How to draw out your own block 28 Making a toile and checking the fit 32 Creating your skirt 37 Skirt shapes 38 Basic skirt 40 Pencil skirt 41 A-line skirt 42 Flared skirt 43 Box–pleated skirts 44 Gathered skirts 48 Fastenings & fixtures 52 Traditional waistband 54 Wrapped waistband 56 Facing 58 Zip fastenings 60 Button placket 64 Details & finishings 66 Patch pockets 68 Inseam pocket 70 Yoke 72 Yoke pocket 74 Back vent 78 Hems 80 Putting your skirt together 84 Skirt recipes 88 Monroe 88 Brodie 92 Pattie 96 Cecelia 100 Bobbie 104 Kate 108 Joni 112 Judy 116 Jasmine 120 Grace 124

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Book SynopsisStumpwork embroidery, also called raised embroidery, takes hand embroidery to another dimension and lifts it off the surface of the fabric with strikingly realistic results. This technique uses all the usual embroidery stitches you would expect and includes padding, wiring and slips to achieve its raised effect. Stumpwork Inspirations highlights the very best stumpwork has to offer in both design and technique. Featuring talented embroidery designers Susan O’Connor, Wendy Innes, Susan Casson, Anna Scott, Lesley Turpin-Delport and Jane Nicholas, this special collection, including lovely framed pictures and a pot lid, have been curated into one publication. With 8 stunning stumpwork projects to make, there are clear step-by-step instructions, pullout patterns, a stitch guide and all the information you need to stitch them. Discover the origins, stitches, techniques and designs that are uniquely stumpwork, and learn how to make your own beautiful works of art.Trade ReviewAustralian needlecraft magazine Inspirations has been inspiring (and wowing) people for over thirty years. This book is part of a new series of books, each containing eight projects which will challenge and delight embroiderers. Stumpwork is notorious for being one of the more advanced styles of embroidery, and like just about everything produced by this magazine, I would recommend this book for intermediate level and up. If this is you, then rejoice, because this book manages to update stumpwork for the 21st Century while retaining its lush appearance and celebration of nature. The eight projects depict flowers and fruits, and they have all been previously featured in issues of Inspirations magazine. There are violas, a coneflower and butterfly, windflowers, tansy, raspberries and crab-apples, strawberries and my own favourite, the very Jacobean partridge in a pear tree. The book opens with a two-page history of stumpwork, and the rest of the book contains the projects. Each one is several pages long and has everything you need to complete the piece, including a pattern on the sheet at the back tucked neatly into a pocket. Along with many large and colourful photographs (so useful due to the level of detail in each one), there are staged photographs for stitches plus coloured diagrams. What you need is broken down into fabric, supplies, needles, and threads with DMC stranded floss being the main choice, but also Madeira metallic, Anchor floss, perlé cottons, ribbon, and various types of silk threads. Each thread is assigned a number and is referred to by it in the instructions, which apart from the stitches are mostly in written form. At the back is a glossary of all the stitches and techniques, each shown in a good number of staged photographs. I think my favourite must be the piece on how to utilise a real snail shell together with wire, thread, and glue to make a snail! This is a method the original Jacobean embroiderer would have recognized. A beautiful and inspiring book for the keeper shelf. -- Rachel A Hyde * myshelf.com *Table of Contents2 Introduction 4 Contents 6 Stumpwork History 8 Stumpwork Projects 10 Summer Harvest 20 Anise 28 Viola Tricolor 36 Summer Dancer 44 Sweet Violets 52 Windflower 58 First Day 72 Belle Fraise 80 Stitch Guide

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Book SynopsisDiscover a wealth of innovative and inspiring ideas for using colour in crewelwork, from one of the world's leading embroiderers, Tatiana Popova.

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Book SynopsisCombine the art of macramé with the practice of mindfulness in this stunning gift book. Each of the 17 projects contains breathing exercises, questions to reflect on and guided journal prompts so that you can center yourself while crafting something beautiful.Written by acclaimed macramé artist Isabella Strambio, this book offers a unique combination of practical and personal, inviting you to embrace a mindful and meditative experience through knotting. Each knot tied is a chance to slow down and experience the satisfaction of making something beautiful with your hands while nourishing your soul in the process.Choose from quick 30-minute creations (jewelry, belts, keyrings), those that take less than an hour (coasters, placemats, plant hangers) to more intricate designs that invite a few hours of you-time (wall hangings, baskets).Each one is customizable in color and size, offering opportunities to decorate your home with meaningful pieces or make thoughtful gifts.Included : 17 simple-but-stunning beginner-friendly projects including wall hangings, jewelry, plant hangers, placemats, coasters and keyrings, ordered by the time needed Breathing exercises and guided journal pages with space to note down your thoughts and reflections for every project Easy-to-follow step-by-step photography for all the knots, patterns and projects Whether you?re dipping your toes into the waters of mindfulness and crafting for the first time or seeking fresh inspiration and support, this beautifully illustrated gift book welcomes you with open arms.

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Book SynopsisA leading authority on the Bayeux Tapestry examines the work "frame by frame" in this profusely illustrated and annotated volume. The Bayeux Tapestry is one of the most extraordinary artefacts to survive from the eleventh century: a fragile web of woollen thread on linen, its brilliant colours undimmed after nearly a thousand years. The events of the years 1064 to 1066 surrounding the contested accession to the English throne of William, Duke of Normandy are so vividly portrayed that you can almost watch the artists' minds at work as they created it. This beautiful full-colour reproduction of the entire Tapestry includes a detailed commentary alongside each episode, so you can follow the story blow by blow.Trade Review[A] strikingly illustrated book, which reproduces in colour every centimetre of the surviving embroidery. [...] Admirably balanced and informed. * SUNDAY TIMES *[An] extremely valuable volume. [...] To be valued as both a survey of work on the tapestry and an extremely well presented and coherent analysis of a medieval masterpiece. * TOEBI Newsletter *A magnificently illustrated book, and as such is extremely practical for study, teaching and happy browsing. * FINDS RESEARCH GROUP *[Presents] a new slant, particularly the in-depth analysis of the tapestry's indebtedness to Scandinavia's weaponry, ships, and buildings. Recommended. * CHOICE *Possibly the most authoritative of the many books spawned by the Tapestry. * HISTORICAL NOVELS REVIEW *Handsome and very reasonably priced. Clearly aimed at the student and the general reader rather than at the specialist, it would be an attractive purchase for all three. * ENGLISH HISTORICAL REVIEW *A very interesting and informative book. * HOBILAR *

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Book SynopsisAn essential companion to one of the key contemporary art works of the last decade, Grayson Perry's series of tapestries, The Vanity of Small Differences. Telling a story of class and taste, aspiration and identity, tapestry series The Vanity of Small Differences saw Turner Prize-winning artist Grayson Perry travel the length and breadth of the UK, ‘on safari amongst the taste tribes of Britain’. In his BAFTA award winning three-part documentary series All in the Best Possible Taste (Channel 4), Perry explores the ‘emotional investment we make in the things we choose to live with, wear, eat, read or drive.’ The Vanity of Small Differences is the beautiful publication, covered with real cloth, accompanying the Hayward Touring exhibition with the same name. The book features Perry’s six vibrant and highly detailed tapestries bearing the influence both of early Renaissance painting and of William Hogarth’s moralising series, literally weaving characters, incidents and objects from the artist’s research into a modern day version of Hogarth’s A Rake’s Progress (1733). With an inventive and elegant design from Pony Ltd, this fascinating publication includes an extensive array of full-colour reproductions of Perry’s tapestries, complete with photos of the artist’s sketches and preparatory material for the tapestries themselves. Journalist Suzanne Moore (Guardian, Mail on Sunday) contributes to the book with an incisive, moving and highly personal reflection on questions of class, taste and their relative values. Also featuring a new text by Grayson Perry, alongside extensive commentary on each of the tapestries, while curator Adam Lowe’s essay explores the process of their making and their place in the digital age, The Vanity of Small Differences is an essential guide to the work of one of Britain’s best-loved artists.

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Book Synopsis A modern, stylish and practical exploration of the traditional craft of block printing. For self-taught textile designer Molly Mahon, there is something special about block printing that has stood the test of time. From the initial design process, through to the carving of the block, the mixing of the colour and the actual printing process, Molly has always found printing to be meditative. This book enables readers to explore this ancient craft through Molly's contemporary designs and the influences that inspire her use of pattern and colour, before teaching them practical skills and potential ways to transform their creations into beautiful homeware. The book is divided into three main sections:A Modern Block Printer: An introduction to Molly and how she found and nurtured her love of block printing. Also, Molly gives a brief history of the tradition of block printing. Design Journeys: Molly sees pattern everywhere she looks and this is what creates the basis of her blocks. When Molly is designing, it’s as if she goes on a journey, whether it be a walk in the forest or a work trip to India. She is constantly inspired by her surroundings in all that she sees and feels. Here the reader is taken on some of her favourite journeys with an inspirational sourcebook filled with beautiful images. Discover a brief history of block printing, design ideas and stories focusing on how India’s artisan craftspeople and traditional block printing techniques, nature and the Bloomsbury Group have all inspired Molly's designs. Practical Printing: This chapter focuses on how to block print, including information on key tools, step-by-step techniques for printing on paper and fabric, and pattern design advice. Follow instructions to make five simple homeware projects with your newly printed creations and find exclusive block templates drawn by Molly for you to copy and recreate at home. House of Print is a celebration of both the art of block printing and the joy of design.Trade Review'We loved how the book seamlessly marries old and new, giving us insight into the ancient craft, and then encouraging us to create contemporary, funky homewares of our own – quite literally putting our stamp on them.' * Independent, '13 Best Interior Design Books' *'The how-to section will get you printing in no time and the projects could readily be adapted to use as a base for further embellishment' * Stitch *'For a complete guide to block printing, including inspiration and step-by-step techniques, look for Molly Mahon’s House of Print.' * Your Home *'There’s insightful information on key tools, step-by-step techniques for printing on paper and fabric as well as pattern design advice' * Craft Focus *'Molly shares her secrets for stunning contemporary designs as well as some fabulous ideas for totally me made homewares.' * Sew *'A modern, stylish, and practical exploration of the traditional craft of block printing' * Simply Sewing *Molly Mahon has a magical, modern eye for block printing. I have long been a fan of her work. This book is both inspiring and practical and a must-have for anyone interested in creating their own pattern and print. * Cath Kidston MBE *'A gorgeous gift for any interiors or craft addict' * Irish Examiner *

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Book SynopsisCan corporate history be art? This question can only be asked if one is not familiar with the fascinating long-term project by the Chinese artist Xiaowen Zhu. Anyone who has experienced Oriental Silk will answer this question with a clear “yes.” The project’s title is also the name of a company founded in Los Angeles in the early 1970s. Specialising in trading and distributing silks, it was headed for decades by Kenneth Wong and his family. Through her multi-sensory works Zhu opens up a multifaceted view of a firm that is distinguished, like its silk products, through its own haptics, style, colours, and values. The people, places, and stories that make up the phenomenon of Oriental Silk form a fascinating, vivid tapestry in which the past and present, art and life, are closely interwoven.

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Book SynopsisLatinx artist Tamara Kostianovsky began using her discarded clothes as artistic material shortly after immigrating to the United States, addressing cultural and physical displacement, assimilation and identity, and the brutal history of Latin America. Today, these emotionally charged materials coalesce in a post-colonial vision for an ecological future. Tamara Kostianovsky creates sculptures from textiles that address the relationship between landscapes, the body, and violence. This volume highlights distinct bodies of her work including sculptures of butchered carcasses, slayed birds, and severed trees. Built with layers of texture, colour, and emotion, these works dive head-first into the tension between beauty and horror, confronting histories of systemic violence and transforming them into utopian environments.

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Book SynopsisTrade Review“In this beautiful book, Amy de la Haye…explores the long history of the rose in fashion, from Ancient Egypt, where fresh roses were worn as accessories, to modern catwalks.”—Ciara Dossett, Daily Mail“This book is astonishing in its breadth, presenting both a valuable reference point for anyone interested in the enduring appeal and power of the rose, and an excellent resource for students and designers alike.”—Ellen Sampson, Journal of Dress History

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Book SynopsisA richly illustrated glimpse into the magnificent collection of seventeenth-century men’s dress from the Danish kings’ wardrobes

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Book SynopsisCarpets from Islamic lands have been treasured for centuries on nearly every continent on earth. This book features more than forty carpets held in the al-Sabah Collection, Kuwait, along with several important pre-Islamic carpet fragments.Trade Review'The reader cannot help but be delighted by the quality of the images chosen. Absorbing ... the text is a pleasure. It informs as opposed to dictates ... a masterful triumph' - SelvedgeTable of ContentsPreface by Sheikh Nasser Sabah al-Ahmad al-Sabah • Acknowledgments • Introduction: The 2,500-Year History of Oriental Carpets • PART I PRE- CLASSICAL CARPETS Chapter 1: Pre-Islamic and Early Islamic Carpets • Carpets from the Sasanian period • The early Islamic pre-classical period • PART II CLASSICAL CARPETS Chapter 2: Egypt • Mamluk carpets • Chessboard carpets • Chapter 3: Turkey • Seljuq carpets • Anatolian animal carpets • Ottoman carpets • “Holbein” and “Lotto” carpets • Star Ushak and Medallion Ushak carpets • Multiple-niche carpets (saff) and prayer carpets • Early village rugs from Anatolia • “Transylvanian” carpets • Late prayer rugs and their reception in Western collections • Chapter 4: Persia: Safavid carpets: the workshops • Safavid carpets: dating • Safavid carpets: pattern types • Compartment carpets • Medallion carpets Vine-scroll carpets • Vase carpets • Garden carpets • Safavid velvets • Chapter 5: Caucasus • Dragon and flower carpets • Chapter 6: India • Mughal carpets: pattern groups • Vine- scroll carpets • Floral garden carpets • Animal carpets

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Book SynopsisRecognized as one of the most innovative designers in contemporary fashion, Tokyo-based Anrealage is the brainchild of Kunihiko Morinaga. Born in 1980, Morinaga launched the brand in 2003, began showing in Tokyo in 2006 and Paris in 2014, and would later be the recipient of the Mainichi Grand Prize for design—Japan’s top fashion prize previously conferred to Issey Miyake, Rei Kawakubo and Yohji Yamamoto. Cerebral and tech-savvy, the Anrealage approach to design is forever putting high-concept theory into practice. Known principally for introducing photochromatic textiles into dresses that react and change colors in response to varying degrees of light, he has also received acclaim for juxtaposing contrasting textures with deconstructed elements to create unique silhouettes.A master of provocation, Morinaga has always been preoccupied byintegrating humanity with rapidly evolving technologies and is actually wary of modernTrade Review"No designer wants to be compared to another, but when such a comparison becomes the highest form of praise, it may be warranted. And so, if there is an heir apparent to the mind-bending, cerebral work of Hussein Chalayan, that designer is Kunihiko Morinaga of the Japanese brand Anrealage. In one of the texts that accompanies the first English language monograph on the brand, published by Rizzoli, the critic Yuko Hasegawa acknowledges as much (though dutifully pointing out that Morinaga occupies a different space in the rather thin pantheon of conceptual fashion)." —STYLEZEITGEIST MAGAZINE"We’re looking at another amazing drop from Rizzoli — this time, highlighting Kunihiko Morinaga and their Tokyo-based brand ANREALAGE. Starting in 2003, they’ve always been ahead of the game. Whether it’s reactive, color changing materials, extreme silhouettes or deconstructed elements, you’re always in for a treat." —NICKSAYSGO.COMIn this book, you will visit light, shape, color, and perspective, to name a few. Describing the pages of this book is almost impossible. You have to see them and study them. I am amazed at the many textures used here and the imagination that went into each piece of art, apparel, and costumes. . . There is life in action on each page, created with personality and extreme thought. Fabric, buttons, beads, metal, and form are in each creation, and I can honestly say there is something for everyone." —SPLENDID SASS

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Book SynopsisThe American quilt as modern artQuilts and Color presents more than 60 graphically bold American quilts from the Pilgrim/Roy Collection, one of the finest and largest collections of quilts in the world. Influenced by twentieth-century art developments such as Abstraction, Op art and the Color Field movement, Paul Pilgrim and Gerald Roy were among the first to appreciate quilts as more than simply decorative bedcovers, women's fancy work or symbols of a rustic past. Reproduced brilliantly and arranged by ideas based in color theory--Vibrations, Mixtures, Gradations, Harmonies, Contrasts, Variations and Optical Illusions--each quilt in this book is celebrated as a unique work of art. The accompanying text also sheds light on the social and cultural history of the quilts and the practices and aspirations of their mostly anonymous makers, who created such works of enduring beauty and arresting visual impact. Quilts and Color accompanies an exhibition at the Museum of Fine Arts, Boston.

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Book SynopsisSome Kind of Duty features all new handmade weavings by Chicago-based artist Karolina Gnatowski, known as kg. In monumental and small-scale tapestries, kg, anAmerican artist who was born in Poland incorporates references ranging from Polish immigration, badminton, Jim Morrison, and feminist fiber artists to addiction, mourning, and their pet. The artist's keen attention to the details of life's coincidences and moments of intersection finds a fitting form in their reverence for the history of tapestry weaving, and the evidence of everyday life incorporated into the artist's work makes their weavings an offering to those both living and dead. This catalog accompanies an exhibition at the DePaul Art Museum, and it features full-color plates of the works on view, an interview between the artist and DPAM Director and Chief Curator Julie Rodrigues Widholm, an essay by K. L. H. Wells, assistant professor in the Department of Art History at the University of WisconsinMilwaukee, and poems

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Book SynopsisTable of ContentsPreface xv 1 Damage Caused by Physical and Chemical Agents and Their Prevention 1 Suza Ahmed, Mohammad Mohsin Ul Hoque and Abubakar Siddik 1.1 Introduction 1 1.2 Characteristics of Typical Museum Textiles 2 1.3 Agents Causing Damage to Textile Materials 2 1.4 Deterioration of Textiles by Mechanical Stresses 3 1.4.1 Dimensional Changes 4 1.4.2 Change in Modulus 4 1.5 Deterioration of Textiles by Light and Radiation 5 1.5.1 Deterioration of Textiles by Photochemical Tendering 5 1.5.2 Fading of Dyes 6 1.5.3 Accelerated Photochemical Tendering 6 1.5.4 Light Ageing 7 1.6 Deterioration of Textiles by Humidity and Temperature 7 1.6.1 Temperature 7 1.6.2 Relative Humidity 7 1.6.3 Fluctuating Humidity and Temperature 8 1.7 Deterioration by Acid, Alkali, and Water 8 1.8 Deterioration of Textiles by Gaseous and Solid Contaminants 8 1.8.1 Gaseous Contaminants 9 1.8.2 Particulate Contaminants 9 1.9 Deterioration of Textiles to Biological Agents 9 1.9.1 Insects and Pests 9 1.9.2 Mold 11 1.9.3 Source of Biological Agents 11 1.10 Cases of Damages in Museum Textiles 11 1.11 Other Factors Influencing the Damages to Textiles 13 1.11.1 Alienation 13 1.11.2 Fire 13 1.11.3 Theft or Vandalism 13 1.12 Avoiding Damages 13 1.12.1 Temperature and Humidity 13 1.12.2 Avoiding Damages Caused by Light and UV Radiation 14 1.12.2.1 Measuring Light and UV Levels 14 1.12.3 Avoiding Damages Caused by Pest 15 1.12.4 Avoiding Damages Caused by Pollutants 15 1.12.5 Avoiding Environmental Damages 15 1.13 Conservation of Museum Textiles 16 1.13.1 Moth Management 16 1.13.2 Integrated Pest Management 16 1.13.2.1 Monitoring the Collections 17 1.13.2.2 Insect Trapping 18 1.13.2.3 Traditional Method 18 1.13.2.4 Hygienic Control of Pests 18 1.13.2.5 Pest-Proofing 18 1.13.3 Laser Cleaning of Tarnished Silver and Copper Threads in Museum Textiles 19 1.14 Conclusion 19 References 20 2 Biological Damage to Textiles and Prevention Methods 23 Kurmo Konsa, Theodora Kormpaki and Janika Turu 2.1 Introduction 23 2.2 Biodeterioration of Textiles Caused by Microorganisms (Bacteria, Fungi) 25 2.2.1 Most Common Species of Microorganisms in Textile Collections 25 2.2.2 Deterioration Caused by Microorganisms 26 2.2.3 Methods of Examination and Identification of Microorganisms 27 2.3 Biodeterioration of Textiles Caused by Insects 28 2.3.1 Most Common Species of Insects in Textile Collections 28 2.3.2 Deterioration Caused by Insects 29 2.3.3 Monitoring and Identification of Insects in Textile Collections 30 2.4 The Control of Biodeterioration of Textiles 30 2.4.1 Prevention Methods 31 2.4.1.1 Construction Aspects 31 2.4.1.2 Storage Conditions 31 2.4.1.3 Storage 32 2.4.1.4 Room Monitoring 32 2.4.2 Remediation Methods 33 2.4.2.1 Low Temperatures (Freezing) 34 2.4.2.2 High Temperatures (Heating) 34 2.4.2.3 Gamma Radiation 34 2.4.2.4 Modified Atmospheres 35 2.4.2.5 Mechanical Removal 35 2.4.3 Chemical Control Methods 35 2.4.4 New Methods for the Control of Biodeterioration of Textiles 36 2.5 Biological and Chemical Risk Factors in the Preservation and Conservation of Textiles 37 2.6 Conclusion 37 References 38 3 Microscopy of Historical Textiles 45 Hana Lukesova 3.1 Introduction 45 3.2 Optical Microscopy 46 3.2.1 Stereomicroscopes 46 3.2.1.1 Textile Techniques 47 3.2.1.2 Finishing 47 3.2.1.3 Repairs and Changes 48 3.2.1.4 Reflected Light Microscopy 48 3.2.2 Transmitted White Light and Polarized Light Microscopy 48 3.2.2.1 Transmitted White Light Microscopy 48 3.2.2.2 Polarized Light Microscopy 49 3.2.2.3 Fiber Identification 50 3.2.2.4 Finishing 51 3.2.2.5 Microbiological Attack 52 3.2.3 Digital Microscopy 52 3.3 Electron Microscopy 53 3.3.1 Scanning Electron Microscopy 53 3.3.1.1 Sample Preparation 53 3.3.1.2 Fiber Identification of Animal Hairs 53 3.3.1.3 Finishing 54 3.3.1.4 Dyeing 54 3.3.1.5 Quality 54 3.3.1.6 Degradation 55 3.3.2 Transmission Electron Microscopy 55 3.3.2.1 Sample Preparation 56 3.4 Conclusion 56 References 57 4 Computational Structural Analysis 61 Rana Al Ali, Mohamed Dallel, Boumediene Nedjar and Elhem Ghorbel 4.1 Introduction 61 4.2 Mechanical Modeling of Textile 62 4.2.1 Microscopic Modeling of Textiles 63 4.2.2 Mesoscoping Modeling of Textiles 63 4.2.3 Macroscopic Modeling of Textiles 65 4.3 Historical Textiles’ Modeling 67 4.3.1 Creep in Structural Analysis 67 4.3.2 Finite Element Method 68 4.3.3 The Rheological Model 68 4.3.3.1 Kinematic Associated with Elastic Behavior 70 4.3.3.2 Constitutive Equations Associated to the Elastoplastic Branch [I] 71 4.3.3.3 Constitutive Equations Associated to the Viscoelastic Branch [II] 76 4.4 Application to Tapestries: Case Studies 76 4.4.1 Application 1: The Importance of Considering the Orthotropy 77 4.4.2 Application 2: Effect of Hanging System 78 4.4.3 Application 3: Presence of Tears and Slits 79 4.5 Conclusion 79 Acknowledgement 80 References 80 5 Characterization of Ancient Dyes and Prints 85 Hannah Dewey, Meghan Lord and Januka Budhathoki-Uprety 5.1 Introduction 85 5.2 Characterization Methods 87 5.2.1 Thin Layer Chromatography 87 5.2.2 High-Performance Liquid Chromatography 89 5.2.2.1 Dyestuff Analysis 90 5.2.2.2 Sample Preparation and Extraction Methods 90 5.2.2.3 Detectors 92 5.2.2.4 Limitations 93 5.2.3 Raman Spectroscopy 94 5.2.4 Infrared Spectroscopy 96 5.2.5 Fluorescence Spectroscopy 97 5.2.6 Fiber Optic Reflectance Spectroscopy 99 5.2.7 Mass Spectrometry 100 5.3 Printing Techniques 101 5.4 Conclusion 102 References 103 6 State-of-the-Art Characterization Methods for Historic Textiles 107 Reza Assefi Pour, Mazeyar Parvinzadeh Gashti and Jinxin He 6.1 Introduction 108 6.2 Dating of Textiles 108 6.2.1 Radiocarbon Dating 109 6.2.1.1 Advantages and Limitations of Radiocarbon Dating 109 6.2.1.2 Radiocarbon Dating Measurements 110 6.2.1.3 The AMS Method of Radiocarbon Dating 110 6.2.2 Micromechanical Method for Textiles Dating 111 6.3 Molecular Analysis 112 6.3.1 DNA Analysis 112 6.3.2 Amino Acid Composition 114 6.4 Proteomics 115 6.4.1 Principle and Evaluation Process of Historic Textiles 115 6.4.2 Why Proteomics Is Preferred 117 6.5 Isotopic Tracing 118 6.5.1 The Strontium Isotope Tracing System 118 6.5.2 Benefits of Sr Isotope Tracing 119 6.5.3 Limitations of Sr Isotope Tracing 119 6.6 Thermal Analysis 120 6.7 Optical Measurement Tests 121 6.8 Analytical Methods for Dye Analysis 122 6.8.1 Mass Spectrometry 123 6.8.2 Chromatography 123 6.8.3 Electrophoresis 124 6.8.4 Microextraction 124 6.9 Conclusion 126 References 126 7 Nondestructive Testing of Historic Textiles 131 Anna Klisińska-Kopacz 7.1 Introduction 131 7.2 Sampling 132 7.3 Analytical Investigation Techniques Using X-Rays 133 7.3.1 X-Ray Radiography 133 7.3.2 X-Ray Fluorescence 135 7.3.3 Scanning Electron Microscopy with X-Ray Microanalysis 137 7.3.4 X-Ray Diffraction 139 7.4 Vibrational Spectroscopy 140 7.4.1 Fourier Transform Infrared Spectroscopy 141 7.4.2 Raman Spectroscopy and Surface-Enhanced Raman Spectroscopy 143 7.5 Case Studies 144 7.5.1 17th Century Painted Silk Banner 144 7.5.2 16th Century Carpet 146 References 148 8 NDT of Historic Textiles—Brief on Theory and Applications 151 Anuradha Sankaran, Namitha Nandanan Nedumpillil and Seiko Jose 8.1 Introduction 151 8.2 X-Ray Fluorescence Spectroscopy 152 8.3 Atomic Force Microscopy 154 8.4 Raman Spectroscopy 154 8.5 Computed Tomography 156 8.6 X-Ray Photoelectron Spectroscopy 157 8.7 Optical Microscope 157 8.8 Scanning Electron Microscope and Energy Dispersive X-Ray Spectrometer 159 8.9 Carbon Dating 161 8.10 X-Ray Diffraction 162 8.11 Ultraviolet-Visible Spectroscopy 163 8.12 Fourier Transform Infrared Spectroscopy 164 8.13 Conclusion 165 References 165 9 Non-Invasive Analytical Techniques for the Study of Dyes and Pigments in Historical Textiles 171 Lavinia de Ferri and Fabrizio Andriulo 9.1 Introduction 171 9.2 Photographic Methods 172 9.2.1 Infrared Reflectography (IRR) 173 9.2.2 Visible-Induced Visible Luminescence/Fluorescence 173 9.2.3 UV-Fluorescence (or UV-Luminescence) (UVF-UVL) and UV Reflectance (UVR) 174 9.2.4 False-Color Imaging 174 9.2.5 Multispectral/Hyperspectral Imaging 175 9.3 Colorimetry 176 9.4 Reflectance Spectroscopy 177 9.5 Fluorimetry 185 9.6 Diffuse Reflectance Infrared Fourier-Transform (DRIFT) Spectroscopy 186 9.7 Matrix-Transfer Surface-Enhanced Raman Scattering (SERS) 187 References 187 10 Micro-Invasive Analytical Techniques for the Study of Dyes and Pigments in Historical Textiles 191 Lavinia de Ferri and Fabrizio Andriulo 10.1 Introduction 191 10.2 Spectroscopic Methods 192 10.2.1 Elemental Techniques: Energy Dispersive System/Energy Dispersive X-Ray (EDS/EDX) and Laser Induced Breakdown Spectroscopy (LIBS) 192 10.2.2 Ultraviolet-Visible (UV-VIS) 193 10.2.3 Surface-Enhanced Raman Scattering (SERS) and Fourier Transform (FT)-Raman 195 10.2.4 Fourier Transform-Infrared (FT-IR) Spectroscopy 201 10.3 Chromatographic Methods 202 10.3.1 Paper and Thin Layer Chromatography (PC and TLC) 202 10.3.2 High-Pressure/-Performance Liquid Chromatography (HPLC) 204 10.3.3 Ultra High-Performance Liquid Chromatography (UHPLC) 205 10.3.4 Gas Chromatography-Mass Spectrometry 206 10.4 Other Techniques 208 References 209 11 Destructive Analytical Techniques for the Analysis of Historic Textiles 215 Namitha Nandanan Nedumpillil, Anuradha Sankaran, Seiko Jose, Sneha George and Sabu Thomas 11.1 Introduction 215 11.2 NMR Spectroscopy 216 11.3 Mass Spectrometry 217 11.4 Secondary Ion Mass Spectrometry (SIMS) 217 11.5 Inductively Coupled Plasma Mass Spectroscopy 218 11.6 Laser Ablation Inductively Coupled Plasma Time of Flight Mass Spectrometry (LA-ICP-TOF-MS) 218 11.7 Matrix-Assisted Laser Desorption Ionization-Time of Flight (MALDI-TOF) 219 11.8 Transmission Electron Microscope 221 11.9 Thermo Gravimetric Analysis 221 11.10 DNA Analysis 222 11.11 Amino Acid Composition 223 11.12 Peptide Mass Fingerprinting 223 11.13 Chromatographic Techniques 225 11.14 High-Performance Liquid Chromatography 226 11.15 Thin Layer Chromatography 228 11.16 Gas Chromatography 229 11.17 Inductively Coupled Plasma-Optical Emission Spectroscopy 229 11.18 Conclusions 230 References 231 12 Assessment of Degradation, Repair, and Stabilization of Antique Textiles with a Focus on Tapestries 235 Rosa Costantini 12.1 Introduction 235 12.2 Mechanical Damage Mechanisms in Historic Tapestries 236 12.3 Conserving Tapestries 237 12.3.1 Current Methods for Structural Support and Image Reintegration 238 12.3.2 Current Display Methods 239 12.4 Evaluating the Mechanical Behavior of Tapestries: Invasive Techniques 239 12.4.1 Evaluating the Efficacy of Conservation Strategies Using Tensile Testing 240 12.5 Evaluating the Mechanical Behavior of Tapestries: Noninvasive Techniques 241 12.5.1 Evaluating the Efficacy of Conservation Strategies Using DIC 242 12.6 Conclusions 243 References 243 13 Antique Tapestries and Carpets: A Multidisciplinary Experimental Research Method for Their Diagnosis and Dating 247 Gianpaolo Rosati, Carol Monticelli, Matteo Tommasini, Chiara Zanchi and Alessandra Zanelli 13.1 Introduction 248 13.2 Antiques Textile Surfaces, Means of Cultural Testimony and Way of Improving the Comfort in Historical Buildings 248 13.3 Recent Research and Case Studies on Ancient Carpets 252 13.4 Recent Research and Case Studies on Ancient Tapestries 255 13.5 IR Spectroscopy to the Molecular Wool Characterization: Implications for Dating Purposes 258 13.6 Conclusion 262 Acknowledgment 263 References 263 14 Scientific Study of Fibers and Natural Dyes Used in 19th Century Prayer Carpet From Jiwajirao Scindia Museum Gwalior, Using LC-MS and UV-VIS 267 Md. Ali Nasir, Satish. C. Pandey and M.V. Nair 14.1 Introduction 267 14.2 Materials and Methods 269 14.2.1 Preparation of Samples 269 14.2.2 Instrumentation 269 14.3 Extraction of Dyes 270 14.3.1 Liquid Chromatography-Mass Spectrometry (LC-MS) 270 14.3.2 UV Spectroscopic Measurements 270 14.4 Result and Discussion 270 14.4.1 Dyes Identified in 19th Century Carpet from Jiwaji Scindia Museum, Gwalior Sample 271 14.4.2 Red Dye 271 14.4.3 UV-Visible Spectroscopy 271 14.4.4 Green Dye 273 14.4.5 UV-Visible Spectroscopy 275 14.4.6 Yellow Dye 275 14.4.7 Black Dye 276 14.4.8 UV-Visible Spectroscopy 278 14.5 Future Scope and Studies 280 14.6 Conclusion 280 Acknowledgment 280 References 281 15 Analysis and Visualization of Historical Textiles for the Needs of Museum Conservation and Exhibition 283 Maria Cybulska 15.1 Introduction 283 15.2 Deterioration of Textiles 284 15.3 Methods of Analysis of Historical Textiles 285 15.4 Analysis of Fibers 285 15.5 Analysis of Threads 290 15.6 Analysis of Woven and Other Textile Objects 292 15.7 Identification of Dyes and Color Analysis 293 15.8 Visualization and Virtual Reconstruction of Textiles 294 15.9 Conclusion 299 References 300 16 Conservation of a Coptic Tapestry Fragment from Red Monastery Excavation 303 Neven Fahim 16.1 Introduction 303 16.2 Documentation and Condition 304 16.2.1 Description of Archaeological Object 304 16.2.2 The Analytical Method and Technical Study 305 16.2.3 Dating of the Object 305 16.2.4 State of Deterioration 305 16.3 Testing and Analysis 307 16.3.1 Morphological Study 307 16.3.2 Scanning Electron Microscope 307 16.3.3 Fourier Transform Infrared Analysis 307 16.3.4 Analysis of Color Values 308 16.4 Results and Discussion 308 16.4.1 Stereo Microscope 308 16.4.2 Scanning Electron Microscope 308 16.4.3 FTIR Analysis 310 16.4.4 Colorimetric Measurements 312 16.5 Treatment Methodology 312 16.5.1 Humidification Process 313 16.5.2 Testing the Acidity 313 16.5.3 Cleaning Process 313 16.5.3.1 Chemical Cleaning 313 16.5.3.2 Wet Cleaning 313 16.5.4 Preparation of Foam and Textile Support 314 16.5.5 Permanent Fixation 314 16.6 Conclusion 315 Acknowledgment 315 References 316 17 Synthetic Coatings in Fashion Collections: Identification and Preservation Issues 319 S. França de Sá, K. Verkens, A. Rizzo, G. Petersen, S. Scaturro, I. Correia and M. Carita 17.1 Introduction 320 17.2 Conservation Challenges in Fashion Museum Collections Holding Polyurethane and Plasticised Poly(Vinyl Chloride) Coatings 321 17.2.1 The Entrance of TPU and p-PVC in Fashion 321 17.2.2 Degradation of TPU and p-PVC 322 17.2.3 Issues and Recommendations for the Preservation of TPU and p-PVC Coatings in Museum Collections 322 17.2.4 Case Studies From MUDE, MET and MoMu Collections 324 17.2.4.1 TPU Coatings 327 17.2.4.2 p-PVC Coatings 332 17.2.4.3 Mixed Compositions 335 17.2.4.4 Main Considerations 336 17.3 Experimental 337 17.3.1 Met Museum 337 17.4 Damage Atlas 337 17.5 Conclusions 341 17.6 Future Research 341 References 342 18 Nanotechnology-Based Interventions in Museum Textiles 345 Ankita Shroff, Anjali Karolia and Patricia I. Dolez 18.1 Introduction 346 18.2 Applications of Nanotechnology in Museum Textiles 348 18.2.1 Diagnosis of Museum Textiles Using Nano-Enabled Technologies 349 18.2.2 Cleaning of Museum Textiles Using Nano-Enabled Technologies 350 18.2.3 Consolidation and Protection of Museum Textiles Using Nano-Enabled Technologies 352 18.3 Benefits and Opportunities for Future Developments in Preservative and Conservative Practices 354 18.4 Conclusion 356 Acknowledgments 357 References 357 19 Digital Technologies and Virtual Museums—Novel Approach 361 Kanika Sachdeva and Harshita Chaudhary 19.1 Introduction 361 19.2 History of Digital Technologies in Museums 362 19.3 Why Do We Need Digital Technologies in Museums? 363 19.4 Digital Technologies—Tools and Techniques 364 19.4.1 Multimedia Materials 364 19.4.2 The World Wide Web 364 19.4.3 Computer-Mediated Conferencing 364 19.4.4 Presentation Technologies 365 19.4.5 Simulations and Models 365 19.4.6 Microworlds and Games 365 19.4.7 Streaming Digital Audio and Video 365 19.4.8 Visualization-Based Utilities 365 19.5 Applications of Digital Technologies in the Museum 368 19.5.1 Offline Data Banks Like CD-ROMS 368 19.5.2 Websites 369 19.5.3 Online Databases (National Digital Repository for Museums of India) 370 19.5.4 Virtual Museums 370 19.5.5 Interactive Exhibition Resources/Fusion Exhibitions (Sardar Patel Exhibition) 372 19.5.6 Google Arts and Culture App 372 19.5.7 Roboguides 373 19.5.8 BYOD in Museums 373 19.6 Pros and Cons of Digital Technologies as Compared to Traditional Exhibitions 374 19.6.1 Pros 374 19.6.2 Cons 376 19.7 Conclusion 376 References 377 Index 379

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Book SynopsisGillian Vogelsang-Eastwood is Director of the Textile Research Centre, Leiden, The Netherlands.Willem Vogelsang is former Deputy Director of the International Institute for Asian Studies, Leiden, The Netherlands.

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Book SynopsisJessica Hemmings is Professor of Crafts and Vice-Prefekt of Research, HDK Academy of Design and Crafts, University of Gothenburg, Sweden. Jessica is editor of The Textile Reader (Berg, 2012), In the Loop: Knitting Now (2010) and author of Warp and Weft: Woven Textiles in Fashion, Art and Interiors (Bloomsbury, 2012). She is a regular contributor of articles and reviews to publications including Crafts, Selvedge, and the Surface Design Journal.Trade ReviewIn the contemporary art world, artists are increasingly exploring what textiles can do and say ... If this kind of thing fascinates you, explore further with [Cultural Threads]. * Irish Times *[A] very readable and well-illustrated ... A very worthwhile book to explore. * The Journal for Weavers, Spinners & Dyers *Cultural Threads sits comfortably between the mainstream and The Academe, occupying an intriguing intersection between worlds and migration stories ... [It] is skillfully designed with large format eye-catching imagery … Collectively, such a text can develop new art audiences excited for the worlds of surface design and textile arts. * Surface Design Journal *I'm a huge fan of this beautifully presented and very readable book … The large format colour images throughout the book leave me feeling that I really do understand what other selected artists have created visually - and the text is intelligent and informative but not overly dense. * Fibre Forum e-bulletin (created on behalf of TAFTA) *Table of ContentsIntroduction Chapter One: Artists’ Statements Julie Ryder: Reflections on Charles Darwin’s South Pacific (Australia) Jorge Lizarazo and Hechizoo: Colombian Voyages and Explorations (Colombia) Cecilia Vicuña: QUIPUing from Santiago, Chile to Sydney, Australia (Chile) Elaine Reichek: Revisiting a Postcolonial Kinderhood in America (USA) Mr Somebody & Mr Nobody: African Design Exported (South Africa) Chapter Two: Dutch Wax Resist Textiles: Roger Gerards, Creative Director of Vlisco, and Jessica Hemmings (National College of Art & Design, Dublin, Republic of Ireland) Chapter Three: An Imagined Africa: Stories told by Contemporary Textiles, Jessica Hemmings (National College of Art & Design, Dublin, Republic of Ireland) Chapter Four: Weaving, Tradition and Tourism in Ghana: “The End of Skill”, Mamle Kabu (Ghana) Chapter Five: Can Pakeha Make Customary Maori Art? A Conversation in New Zealand with Weaver Margaret White and Damian Skinner (New Zealand) Chapter Six: Crafting Difference: Art, Cloth and the African Diaspora, Christine Checinska (University of East London, UK) Chapter Seven: From Brixton to Mostar: Social Practice Through Textiles, Françoise Dupré (Birmingham City University, UK) Chapter Eight: A Post-Slavery Reading of Cotton: Lubaina Himid (University of Central Lancashire, UK) in conversation with Sabine Broeck and Alice Schmid (both of the University of Bremen, Germany) Chapter Nine: Contemporary Textile Imagery in Southern Africa: a Question of Ownership, Sarah Rhodes (Central Saint Martins, University of the Arts London, UK) Chapter Ten: Social Sutra: A Platform for Ethical Textiles in Partnerships Between Australia and India, Kevin Murray (Australia) Index

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Book SynopsisSusan Kay-Williams is the Chief Executive of the Royal School of Needlework at Hampton Court. She has a long-term interest in textiles and was introduced to dyeing on a one-day workshop in the 1980s. Susan is constantly in demand as a speaker, especially for NADFAS in the UK, and internationally in the US and Japan. She is a fellow of the RSA.Trade ReviewThe Story of Colour in Textiles is an introduction to a broad, diverse and fascinating subject of how and why people dyed textiles. A fresh review of this topic, this book brings previous scholars' work to light again, alongside new discoveries and research. * Embroidery *A detailed and fascinating history of the dyeing of fabric and yarn, this is a great book for textiles students, history lovers and anybody interested in dyeing processes and history. Its subtitle is Imperial Purple to Denim Blue, which is a fabulously concise and intriguing description of the journey dyeing has taken over the centuries. The book looks at the symbolism of colour through the ages, the many natural dye sources and their origins and the impact of synthetic dyes on the textile industry. * Inside Crochet *The book covers an impressive range of material; The Arnolfini Marriage, the emergence of meanings in colour, The Plictho, selvedge colours and hierarchies of dyers are all clearly discussed... The Story of Colour in Textiles is well-researched and readable. It is engaging...has good colour reproduction, and satisfyingly extensive references at the end of each chapter. A great book for both the casual and the academic reader, it merits being kept for reference. I thoroughly recommend it. -- Lorna Lindfield, Avon Guild * Journal for Weavers, Spinners & Dyers *Aimed equally at textile student and the craft dyer, [The Story of Colour in Textiles] is full of fascinating information for anyone interested in the history of decorative arts . . . For anyone who works with fabric, this is a very interesting read and an ideal way to gain an overview of fabric dyeing and its lengthy history. * Creative Life Magazine *This beautifully presented book with its superb illustrations will be greatly enjoyed and appreciated by all those with an interest in textiles and embroidery. As we follow the history of colour and dyeing from pre-history to the present day it is interwoven with politics, religion, social standing, wealth, trade, fashion and the exciting developments and challenges that came with the arrival of synthetic dyestuffs. It is a fascinating story on a subject that is part of our everyday life. * NADFAS Review *Table of ContentsAcknowledgments Preface Introduction Chapter one: Fragments and glimpses - dyes from pre history Chapter two: The Dark Ages - surprising colour Chapter three: New skills, burgeoning trade - the Middle Ages Chapter four: Broadening horizons - the sixteenth century Chapter five: Mystery, art and science - the seventeenth century Chapter six: Analysis, understanding and invention - the eighteenth century Chapter seven: Ryots, rewards and handsome colours - the nineteenth century Chapter eight: A hundred yellows - the twentieth and twenty-first centuries References Photo credits Bibliography Index

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Book SynopsisFor centuries, the peoples of Sub-Saharan Africa have been producing domestic and professional embroidery to decorate themselves, their families, clients, homes and public spaces. Embroidery is an expression of artistic, personal, family, regional and even political creativity which has played an important role in the social and cultural lives of people throughout the region. It has also reflected economic and political changes over time as well as social, religious and artistic contexts. This is the first reference work to describe the history of embroidery throughout Africa south of the Sahara from the early modern period through to the present. From quilted armour to embroidered caps and leather sandals, it offers an authoritative guide to all the major embroidery traditions of the region and a detailed examination of the material, technical, artistic and design dimensions of the subject.Generously illustrated with 395 images (362 in colour) of clothes, accessoTable of ContentsPreface Acknowledgements Table of Contents Section 1: Background Information 1. Introduction 2. Fibres, threads and ground materials 3. Embroidery tools, techniques and makers 4. Uses, designs and designers Section 2: Historical Embroideries 5. Archaeological and historical evidence for textiles and embroidery 6. Snapshot: Embroidered West African Gowns in the Museum Ulm, Germany 7. Snapshot: An early ‘velvet’ embroidery Section 3: Embroideries from the Sahel 8. Introduction 9. Embroidered men’s trousers from the Sahel 10. Snapshot: Mandinka embroidered garments 11. Embroidery from Mali 12. Snapshot: Kanem-Bornu embroidered garments 13. Snapshot: The Tuaregs and embroidery 14. Snapshot: Wodaabe embroidery 15. Quilted armour from the Sahel Section 4: Embroideries from West Africa 16. Introduction 17. Embroidered garments and caps from Senegal and The Gambia 18. Snapshot: Stitch resist-dyeing from Senegal 19. Snapshot: Two 19th century embroideries from Sierra Leone 20. Liberian embroidery and quilting 21. Embroidery from Burkina Faso 22. Embroidery from Ghana 23. Fante and Fon appliqué flags 24. Embroidery from Togo 25. Hausa embroidery techniques from northern and northwestern Nigeria 26. Embroideries from southern and central Nigeria 27. Nigerian embroidered headwear for men 28. The West African boubou and the north Nigerian babban riga 29. Snapshot: The Queen Amina embroiderers 30. Appliquéd and embroidered garments from Cameroon Section 5: Embroideries from Central Africa 31. Introduction 32. Embroidery, appliqué and patchwork from Congo Kinshasa 33. Kuba cut-pile ‘velvet’ embroidery Section 6: Embroideries from East and Northeast Africa 34. Introduction 35. Snapshot: Embroidered milaya from South Sudan 36. Embroidery from Eritrea 37. Embroidery from Ethiopia 38. Snapshot: Capt. Speedy’s ‘Ethiopian’ caps 39. Snapshot: Appliqué and embroidered bark cloth from Uganda 40. Snapshot: The Savane Kabuye embroidery workshop from Rwanda 41. Snapshot: East African-Omani embroidered caps 42. Snapshot: East and northeast African embroidered leather sandals 43. Snapshot: Some recent embroidery groups in East Africa Section 7: Embroideries from Southern Africa 44. Introduction 45. Embroidery from Madagascar 46. Embroidered bark cloth from Zambia 47. Snapshot: The Rhodesian Tapestry: A history in needlework 48. Embroidery and South Africa 49. Snapshot: Embroidered Tsonga minceka Appendix 1a: List of stitches with drawings Appendix 1b: Alphabetical list of stitches Bibliography Index

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