Textile arts and artworks Books

Book SynopsisSteeve O. Buckridge is Director of Area Studies programs and Professor of African and Caribbean History at Grand Valley State University, Michigan, USA.Trade ReviewLace-bark is truly an extraordinary natural material, and one bound intimately to the history of the Caribbean. This book is the first to reveal the hidden lives of the men and women who created the complex chain from living plant to clothing, giving agency to those overlooked by botanists and historians. Buckridge makes a compelling case for regarding lace-bark in an African context, while also demonstrating its centrality in Jamaican culture. * Mark Nesbitt, Research Leader in Economic Botany at the Royal Botanic Gardens, Kew, UK *This book highlights a virtually forgotten textile, but also contributes significant insight into the lived experiences of enslaved and newly-freed Africans in the Caribbean. It celebrates the knowledge and talents that enslaved women brought from West Africa, while contemplating what the future might hold for this distinctive bark cloth. * Heather Akou, Indiana University, USA *Table of ContentsForeword by Joanne B. Eicher, Editor-in-Chief of the Berg Encyclopedia of World Dress and Fashion and Regents Professor Emerita at the University of Minnesota, USA Introduction Chapter 1: Pre-History to Early Slave Trade: People of the Forest Chapter 2: Plantation Jamaica: Controlling the Silver Chapter 3: Victorian Jamaica: Fancy Fans and Doilies Conclusion Appendix Notes Glossary Bibliography Index

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Book SynopsisJohanna Amos is Assistant Professor (adjunct) of art, textile, and fashion history at Queen's University, Ontario, CanadaLisa Binkley is Assistant Professor in Material Culture, and Indigenous and Settler Women's Histories in the Department of History at Dalhousie University in Halifax, Nova Scotia, Canada.Trade ReviewI found it fascinating ... the reading [is] intriguing and varied. I would recommend it to anyone who is interested in Art History as it relates to textiles. * Book Threads Magazine *Stitching the Self considers historical textiles and the lives that made them. Diverse examples – from the English Bloomsbury group to a Swiss psychiatric asylum – show how textile making has long been used as an effective tool to craft personal and group identities. * Jessica Hemmings, University of Gothenburg, Sweden *Needles are evocative tools of material expression. This collection reveals the freighted history and practice of needlework, whose signal importance is demonstrated across this engrossing volume. Makers from varied circumstances are showcased in compelling ways, challenging categories of artistic production. * Beverly Lemire, University of Alberta, Canada *A diverse range of essays which richly illustrate the importance of needlecrafts in forging, reconstituting, recovering and reclaiming individual and collective identifies. Focusing on Europe and North America, the authors illuminate hidden histories, challenge gender stereotypes and disrupt art/craft and professional/amateur binaries. * Vivienne Richmond, Goldsmiths, University of London, UK *Table of ContentsList of Figures List of Plates List of Tables Notes on Contributors Acknowledgments Introduction: Stitching the self ... Johanna Amos and Lisa Binkley Part I: Emerging identity: Reconsidering the narratives of the needle 1 The identity of an embroidering woman: The needle arts in Brussels, Belgium, 1850-1914 Wendy Wiertz 2 “Experiments in silk and gold work afterwards to bloom”: The embroidering of Jane Burden Morris Johanna Amos 3 Becoming the boss of your knitting: Elizabeth Zimmermann and the emergence of critical knitting M. Lilly Marsh 4 “Knitting is the saving of life; Adrian has taken it up too”: Needlework, gender and the Bloomsbury group Joseph McBrinn Part II: Elaborating identity: Expressing ideology, crafting community 5 Whig’s Defeat: Stitching settler culture, politics, and identity Lisa Binkley 6 “From Prison to Citizenship,” 1910: The making and display of a suffragist banner Janice Helland 7 Our Lady of the Snows: Settlement, empire, and “the children of Canada” in the needlework of Mary Seton Watts (1848-1938) Elaine Cheasley Paterson Part III: Recovering Identity: Locating the self through needlework 8 “Je me declare Dieu-Mère, Femme Créateur”: Johanna Wintsch’s needlework at the Swiss psychiatric asylums Burghölzli and Rheinau, 1922-25 Sabine Wieber 9 Hybrid language: The interstitial stitches of Anna Torma’s embroideries Anne Koval 10 Suturing my soul: In pursuit of the Broderie de Bayeux Janet Catherine Berlo Index

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Book SynopsisTextile design inhabits a liminal space spanning art, design and craft. This book explores how textile design bridges the decorative and the functional, and takes us from handcrafting to industrial manufacture. In doing so, it distinguishes textiles as a distinctive design discipline, against the backdrop of today's emerging design issues.With commentaries from a range of international design scholars, the book demonstrates how design theory is now being employed in diverse scenarios to encourage innovation beyond the field of design itself. Positioning textiles within contemporary design research, Textile Design Theory in the Making reveals how the theory and practice of textile design exist in a synergistic, creative relationship.Drawing on qualitative research methods, including auto-ethnography and feminist critique, the book provides a theoretical underpinning for textile designers working in interdisciplinary scenarios, uniting theory and texts from the fields of anthropolTrade ReviewDelving into the interstices of textile design and textile making, Igoe’s richly conceived and generously formed text offers a new paradigm for textile design practices … suggesting an oscillating space that is as rich as it is discursive as it is rigorous. * Catherine Dormor, Royal College of Art, UK *Igoe has partnered her voice with a refreshingly original set of contributors who each move the discourse of textile design beyond generic design vocabulary through unapologetic narration of the personal and particular. * Jessica Hemmings, University of Gothenburg, Sweden *Igoe poetically layers the too-long unspoken words which locate the impulses that have driven generations of textile researchers and makers. The next generation can draw on this brilliant book to confidently amplify their political and personal matrixial voices. * Rebecca Earley, University of the Arts London, UK *Table of ContentsList of Figures List of Contributors Acknowledgements Introduction Chapter 1: Too much to tell Chapter 2: Matrixial meaning Chapter 3: Talking textiles: A story Chapter 4: Design, thinking and textile thinking Mesh One Chapter 5: Translating and transforming Chapter 6: The translation paradigm for design culture (Elena Caratti and Daniela Calabi) Mesh Two Chapter 7: A story of hard and soft; Modernism and textiles as design Chapter 8: The gendered textile design discipline Chapter 9: Taking on textile thinking (Marion Lean) Chapter 10: Tracing back to trace forwards: what does it mean/take to be a Black textile designer (Rose Sinclair) Mesh Three Chapter 11: Paraphernalia and playing for design Chapter 12: Patterns of objects (Tom Fisher) Mesh Four Chapter 13: Design problems and designing pleasure Chapter 14: Design does not solve problems (Mark Roxburgh) Chapter 15: Elevated Surfaces Epilogue: Toing and Froing: on creating an oscillation-based practice (Marianne Fairbanks) Glossary of terms Contributors References References Index

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Book SynopsisA rich and beautiful book about the design and inspiration behind contemporary woven textiles, Warp and Weft will thrill everyone with an interest in textiles. No other book explores woven textiles at such depth.Trade ReviewReadable, with enough technical insight to satisfy an academic of professional audience and enough explanation to reach a more casual reader. Carefully chosen photographs (and especially the detail shots) help clear up any ambiguities and pique the reader's curiosity. * Selvedge *This book is a visual feast for textile enthusiasts... [It] is an overview of contemporary weaving and is a resource for anyone interested in fashion, interiors, and art. * Shuttle Spindle & Dyepot *Table of ContentsIntroduction Chapter 1: Threads Gabriel Dawe, Ball-Nogues Studio, Susie MacMurray, Laura Thomas, Sue Lawty, Lauren Moriarty, Elana Herzog Chapter 2: Light Tamar Frank, Marianne Kemp, Dashing Tweeds, Hiroko Takeda, Christine Keller, Hilde Hauan Johnsen, Sarah Taylor, Astrid Krogh, Priti Veja, Salt, Ainsley Hillard Chapter 3: Motion Philip Beesley, Maria Blaisse, Barbara Layne, Zane Berzina, Maggie Orth, Elaine Ng Yan Ling, Lucy McMullen, Philippa Brock, Grethe Sørensen Chapter 4: Sound Christy Matson, Lars Preisser, Lise Frølund and Hanne Raffnsøe, Elin Igland, Alyce Santoro, Drahomira Hampl, Nadia-Anne Ricketts, Eleanor Pritchard, Aleksandra Gaca, Ismini Samanidou Chapter 5: Emotion Louise Bourgeois, Ane Henrikesen, Shane Waltener, Jeroen Vinken, Liz Williamson, Lucy Brown, Janine Antoni, Lia Cook Chapter 6: Community Petter Hellsing, Runa Carlsen, Wallace & Sewell, Ptolemy Mann, Missoni Home, ao for Gainsborough, NUNO Corporation, Norwegian Rain, Soukaina Aziz El Idrissi, Suzanne Tick, Travis Meinolf, Anne Wilson Notes Further Reading Index

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Book SynopsisThe history of an entrepreneurial family whose work influenced followers of the Arts and Crafts Movement, Gothic Revivalism, Art Needlework and Aestheticism LONGLISTED for the Arnold Bennett Society Book Prize 2020 This book is a richly illustrated history of the Wardle family of Leek, Staffordshire, which rose to prominence in fine textile production in the second half ofthe nineteenth century. At its core is an object-centred exploration revealing how an entrepreneurial family responded to complex international factors. Beautiful dyed, printed and embroidered textiles were created in Leek using traditional craft skills. Followers of the Arts and Crafts Movement and Gothic Revivalism, as well as Art Needlework and Aestheticism, benefited from the family enterprises that flourished despite rapid industrialisation. The Wardle family's rich legacy is played out against the backdrop of the Anglo-Indian silk trade. Thomas Wardle travelled in India and integrated Indian designs into British silk production. His work attracted William Morris, Walter Crane and A. L. Liberty, among others, and their designs, printed by Wardle, were internationally applauded. Elizabeth Wardle, embroiderer, worked with many major architects such as R. N. Shaw, G. G. Scott Jnr and J. D. Sedding.Lavishly illustrated, this book will be of interest to those interested in textile and fashion history and the history of the Arts and Crafts movement, as well as the relationship between the British Empire and the Indian subcontinent. BRENDA M. KING is a textile historian and holds the Chair of the Textile Society. She is also a freelance lecturer in the History of Design and Museum and Heritage Studies and the author of Silk and Empire (2005 and 2009) and Dye, Print, Stitch: Textiles by Thomas and Elizabeth Wardle (2009).Trade ReviewA welcome addition to literature already available on textile history of the late nineteenth and early twentieth centuries. * JOURNAL OF DESIGN HISTORY *A valuable addition to the history of textile production. * THE VICTORIAN *Required reading for those interested in textile and fashion history [and] the Arts and Crafts movement. * ASIAN TEXTILES *Including detailed narrative, historical black-and-white photographs, and color plates of gorgeous silk and gold embroideries, this volume fully documents the Wardles' important roles as entrepreneurs and community leaders. Recommended. * CHOICE *King's account is notable for its close descriptions of the original textile [Bayeux Tapestry] in France as well as the copy created in Leek. She examines both in great detail and provides an eminently informative narrative [.] -- PAUL ANDERTONBrenda M. King's richly illustrated historical account shifts the focus from Thomas Wardle to his wife, family and wider social and cultural milieu. * MIDLAND HISTORY *It is a valuable resource and will, hopefully, lead to the discovery of further archive material about the Leek embroiderers and the work of the intriguing Wardle family. * SPAB, THE SOCIETY FOR THE PROTECTION OF ANCIENT BUILDINGS *This book belongs on the bookshelves of those interested not only in the Wardle family, but also in architecture, textile dying and printing, and embroidery of the Victorian era-the time of the Arts and Crafts movement, Gothic Revivalism, and the Aesthetic Movement. -- Maureen Daly Goggin * Victorian Studies *Table of ContentsIntroduction The Wardle Family and its Circle The Business of Stitch Stitching Narrative: Leek's Facsimile of the Bayeux Tapestry Stitch Meets Stone Rediscoveries and Revelations Appendix Bibliography

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Book SynopsisFrom nomads' tents to poodle skirts, from car parts to Christmas tree ornaments, felt is one of the world's oldest and most understated textiles. Felt has developed simultaneously in multiple cultures, and often its origins are lost. However, far from having been supplanted by new fabrics, not only has felt retained its traditional uses among peoples around the world, but it has also seen a revival of popularity among today's hand feltmakers, craftspeople and fashion designers. This book follows the journey of felt through time, space, and purpose by pulling into focus a series of snapshots of different felting traditions. Beautifully illustrated, Felt covers the wide-ranging history and development of this most unassuming but ubiquitous of fabrics from the earliest archaeological evidence in the mountains of Siberia to the groundbreaking works of contemporary fiber arts and sculptors.Trade ReviewIt is pleasing to find a book on felt that is not about crafting quick results, but instead describes a deceptively complex and sophisticated substance, multi-cultured yet culturally specific. THETable of ContentsAcknowledgements Introduction Chapter 1 - The History of Felt Chapter 2 - The Making of Felt Chapter 3 - Felt in Central Asia Chapter 4 - Felt in the Middle East, Turkey and Hungary Chapter 5 - Felt in Europe Chapter 6 - Felt in Western Art Chapter 7 - Felt Everywhere Chapter 8 - The Meanings of Felt Bibliography

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Book SynopsisFrom booties and scarves to art and fashion, The Culture of Knitting addresses knitting as art, craft, design, fashion and performance, and as an aspect of the everyday. Drawing on a variety of sources, including interviews with knitters from different disciplines as well as amateurs, the text breaks down hierarchical boundaries and stereotypical assumptions that have previously negated the academic study of knitting. The book also highlights the diversity and complexity of knitting in all its guises. The Culture of Knitting investigates not merely why knitting is so popular now but also the reasons why knitting has such longevity. By assessing the literature of knitting, manuals, patterns, social and regional histories, alongside testimonial discussions with artists, designers, craftspeople and amateurs, the book offers new ways of seeing and new methods of critiquing knitting - without the constraints of disciplinary boundaries - in the hope of creating an environment in which knitting can be valued, recognized and discussed.Trade ReviewI gladly recommend this book not only to scholars working in visual and textile arts but also to those with interests in broad interdisciplinary treatments of culture. Turney covers a lot of ground, and the book offers copious photos as exemplars as well as thorough and thought-provoking analyses. THE Fascinating material! TLS A suberb example of contemporary cultural analysis ... Clear, comprehensive, imaginative, innovative, theoretically challenged and grounded. Whether you are interested in fashion, textiles, design, material culture, cultural analysis or Sociology, Turney's Culture of Knitting is a work that you owe it to yourself to read. Textile: The Journal of Cloth and Culture A must-read for erudite knitting addicts. Yarn Market News A thoughtful and insightful study on knitting in all its forms and socio-cultural impacts. Worn ThroughTable of ContentsIntroduction Chapter One: Knitting: a gendered pursuit? Chapter Two: Knitting the Past:: Revivalism, Romanticism and Ruralism in Contemporary Knitting Chapter Three: Twisted Yarns: Post-modern Knitting Chapter Four: Unravelling the Surface - Unhomely Knitting Chapter Five: In the Loop? Knitting Narratives, Biographies and Identities Chapter Six: Knit Power - The Politics of Knitting Conclusion: The World is Full of Ugly Jumpers Bibliography

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Book SynopsisQuilting, once regarded as a traditional craft, has broken through the barriers of history, art and commerce to become a global phenomenon, international multi-billion dollar industry and means of gendered cultural production. In Quilting, sociologist and quilter Marybeth C. Stalp explores how and why women quilt.This close ethnographic study illustrates that women's lives can be transformed in often surprising ways by the activity and art of quilting. Some women who quilt as a leisure pastime are too afraid to admit to being a quilter for fear of ridicule; others boldly identify themselves as quilters and regard it as part of their everyday lives.The place of quilting in women's lives affects core family and personal identity issues such as marriage, childcare, friendship and aging. The book's accessible and intimate portrayal of real quilters' lives provides a fabric for the sociology, anthropology and textile student to understand more about wider issues of cultural production and identity that stem from this very personal pastime.Table of ContentsChapter I: Introduction: Why Quilting? Why Quilts Matter ... The (Recent) Global Quilting Phenomenon What is a Quilt, Anyway? Cultural Production in the Economic Sphere The Sociology of Culture and the Culture of Non-Economic Cultural Production Chapter II: Tripping through the Tulips: Doing Research Close to Home Using Feminist Methods to Study Contemporary U.S. Quilters Local Knowledge and Grounded Theory Methods and Data When Quilting is Enough: Immediate Commonalities through Quilting Piecing Together My Personal and Professional Selves Gendered Assumptions about Quilting and Fieldwork How Long Did it Take You to Make That Quilt? How Many Quilts Have You Made? Revealing My Quilting and My Self When Quilting is Not Enough: Tripping through the Tulips of an Academic Career Chapter III: It's Not Just for Grannies Anymore: Learning to Quilt at Midlife Learning to Quilt as an Adult, and Not on your Mother's Knee Quilting Heritage The Skipped Generation of Quilters New Quilters Midlife Women and Quilting Subjective Careers Learning to Quilt at Midlife Becoming a Self-Identified Quilter Affirming a Subjective Career in Quilting Quilting as Identity Work Extending the Self: Quilts as Finished Products Chapter IV: The Guilty Pleasures of the Fabric Stash Quilting and Fabric Collecting Starting a Fabric Collection Stashing Fabric The Stigmatized Stash and Hiding One's Quilting Identity Quilters' Families as Greedy Institutions Can The Fabric Stash Ever Come Out of the Closet? Chapter V: Quilt Rhymes with Guilt: Finding the Time & Space to Quilt Quilting Seriously Not Enough Time Not Enough Space Not Having Space Rhymes with Guilt: Finding the Time to Quilt Finally! Negotiating a Room of One's Own From a Room of One's Own to a Life of One's Own? Chapter VI: Coming out of the Closet: Quilting is for Self and for Others Quilting as Carework for Self Quilting as Carework for Others Bookmarking Life Through Quilting Self, Space and Sanity Chapter VII: Piecing it All Together What's So Important About Quilting? Leisure, Carework and the Family Developing a Midlife Identity through Quilting Quilting and Other Creative Processes and Products Quilting as Gendered Non-Economic Cultural Production

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Book SynopsisThe story of tweed is tied to a series of social, economic and cultural shifts that have molded its development. This book considers the historical factors that helped to shape the design characteristics and social meanings of the group of fabrics that we call tweed, from their emergence in the 1820s to the present day. Including significant new research on tweeds, from Harris Tweed to the type used by Chanel, this book follows the history of these fabrics from the raw fiber to the finished garment in men’s and women’s fashion. Exploring rural and urban contexts, this book reveals the important physical and conceptual relationships of tweed with landscape. Anderson shows that, contrary to their strong popular associations with tradition, tweeds emerged in the Romantic era as a response to the dramatic changes associated with industrialization and urbanization. Progressive changes in gender relations are also explored as a major factor in tweed's evolution, from associations with particular ideals of masculinity into what is now a truly adaptable fashion textile worn by both sexes. This is the first book of its kind to recognize the importance of tweed to fashion innovation today.Trade ReviewFor textile history enthusiasts, or weavers of tweed yardage pondering the background to the iconic cloth ... this book will be if great interest ... By the final chapters you will have gained a fascinating insight into this industry. * The Journal for Weavers, Spinners & Dyers *Anderson’s excellent book Tweed offers a detailed examination of the history of tweed as both fabric and garment. In so doing she unpacks some of the wideranging social and cultural themes that are hinted at in the exchange between Lord Peter Wimsey and his manservant Bunter ... an excellent overview of a complex subject, demonstrating the value of placing one fabric at the centre of a rich multi-disciplinary enquiry. * Journal of Design History *This book provides a model of how to write a biography of a fabric, which through developing so many unexpected links and thought-provoking digressions leaves the reader with an entirely new perspective on the subject. * Costume *Tweed delivers coherent and precise conclusions that are testament to the thorough research that it contains ... an excellent and much–needed introduction to the topic that lays a strong foundation for other channels of research and interrogation of this fascinating textile. * Journal of Dress History *The scope and quality of the research within Tweed is excellent. The author provides a nuanced account of this universally recognized but often misunderstood and under-researched textile, and firmly situates it within the context of broader economic, social and cultural histories. -- Mairi MacKenzie, Research Fellow, Fashion and Textiles, School of Design, The Glasgow School of Art, UKExpansive and detailed, Fiona Anderson's Tweed offers a rigorous history of this important textile. Drawing on new research, it challenges the myths and sets its subject within its technical, cultural, and aesthetic contexts, pulling together questions of production, consumption and reception in a complex and satisfying weave of ideas. -- Professor Christopher Breward, Principal of Edinburgh College of Art, UK.From its beginnings in coarse woolen shepherd's checks to its global success in luxury markets, Fiona Anderson digs deep into the life of tweed – its history, myths, meanings, design, technical characteristics, and consumption. The study considers tweed from a broad perspective of innovation and fashion change, aided largely by a material culture approach. The relationship of tweed to class, gender, national identities and traditions, is part of the story. Readers will want to know more about these timeless fabrics that have romantic (and other) meanings long before they are fashioned into clothes. -- Patricia A. Cunningham, The Ohio State University, USAReaders interested in the history of textiles will be intrigued to learn about the relationship of tweed to the artistic Romantic movement—which butted against industrialism and urbanism—and how this rural fabric became associated with idealized imperialism, travel, and foreign exoticism. -- B. B. Chico * Regis University *Table of ContentsList of Illustrations Acknowledgements 1. Introduction 2. Tweed: Terms, Descriptions and Characteristics 3. Origins and Early Development of Tweed to 1850 4. Tweed, Male Fashion and Modern Masculinities 1851-1918 5. Tweed, Femininity and Fashion 1851-1918 6. Suits You: Men and Tweed 1919-1952 7. Sportswear Chic: Tweed in Womenswear 1919 to 1952 8. Couture to Pop and Nostalgic Fashion: 1953 to 1980 9. Tradition and Innovation: 1981 to 2014 Bibliography Index

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Book SynopsisThis book gathers a collection of multidisciplinary essays written by distinguished scholars, visual artists, and writers. The common thread of these essays addresses the ways in which fiber arts have enriched and empowered the lives of women throughout the world. From Ancient Greece to the Holocaust, to the work of grassroots organizations, these essays illustrate the universality of fiber arts.Table of ContentsContributors: Esther Andradi, Anne Ashbaugh, Roberta Bacic, Gina Canepa, Lori Marie Carlson, Lorraine Lener Ciancio, Roger Dunn, Gaby Franger, Michal Held, Marilyn Kimmelman, Rebecca Leavitt, L. Dunreith Kelly Lowenstein, Ana Luszczynska, E.M. O'Connor, Marcela Orellana Muermann, Linda Rodriguez, Heather D. Russell, Renee S. Scott, Inela Selimovic', Emma Sepulveda Pulvirenti, Sheryl St. Germain, Bernice Steinhardt.

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