Textile arts and artworks Books

Book SynopsisSuitable for modern admirers of oriental carpets, this book features forty classical carpets held in the al-Sabah Collection, Kuwait, along with several important pre-Islamic carpet fragments. It describes collections in the context of history of Islamic art, recounting carpets stories and celebrating their intricate designs and craftsmanship.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 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 SynopsisRay Slater provides patterns for different doll shapes, from the simplest stump doll to the more complicated jointed doll. The book gives practical instruction on needle-sculpting expressive faces, as well as details on how to use the patterns to make the basic cloth doll.Trade ReviewOct/Nov 08 Perhaps you have never made a cloth doll and would like to try. Or perhaps you have made many dolls, but feel it's time to branch out into more elaborate and unique textures and effects. Either way, this book is for you. About half the book covers doll-making styles (stump, wired, stuffed cloth) with patterns for body parts and diagrams for faces. The other half of the book concentrates on textile techniques, with photos and instructions for making layered background fabrics, machine-wrapped cords, coloring with paints and dyes, adding creative embroidery, fused appliqué, soldering, and more. The author trained as a textile artist at Goldsmiths College at the University of London and also as a costume maker for theater and television. In this book, she brings together the creativity and techniques of the former with the fashionable flair of the latter. Cate Coulacos Prato * Quilting Arts *Nov 08 Textile artists will find plenty of inspiration with these amazing cloth dolls. Beautifully decorated in intricate detail, these fabulous dolls incorporate a variety of techniques to create realistic faces, vibrant outfits plus wild and woolly hair. There are full instructions and patterns to create three types of doll – a simple stump doll, a spindly wired doll and a traditional stuffed cloth doll. Close up photos and illustrations are used every step of the way so that the reader can recreate the dolls with ease and learn a whole variety of decorative techniques as they progress. These include free motion stitching, creating cords and making layered fabrics, plus ideas for using paints, dyes, water-soluble film and soldering irons. There is also specific guidance for doll making showing how to needle-sculpt faces, create realistic hands, shape limbs, attach hair and work with different types of filling and stuffing. A useful suppliers list will help source everything that's needed. * SEWING WORLD *Dec 08 I'm not really into dolls but, if I were, I'd love Ray Slater's. However, this book is about so much more than doll making and I think it deserves a place on every embroiderer's shelf. This is because of the methods that Ray uses. Most of them are known to us but she does such lovely things with water-soluble fabric, a soldering iron, appliqué and other such techniques, that there is much to be learned. The book is divided into three main sections: stump, wired & stuffed dolls. However, within the making instructions are sections such as creating texture with hand stitching, working with layered fabrics, machine wrapped cords and braids, all key topics in their own right, whatever your textile leanings. An excellent book. * Workshop On The Web *

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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 SynopsisThis is the first reference work to describe the history of embroidery throughout Central Asia, the Iranian Plateau and the Indian Subcontinent from the medieval period through to the present. 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, including its use by today's fashion designers.For millennia, the peoples of Central Asian, the Iranian Plateau and the Indian Subcontinent have migrated and traded along the multiple strands of the Silk Road, both northsouth and eastwest. This history of contact has found rich expression within the arts and crafts of the region and particularly in the heritage of embroidery which has sat at the heart of the social and cultural lives of these diverse communities. Embroidery has been produced to decorate individuals, their families, their clients, their homes and public spaces and has reflected economic and poTrade ReviewAn essential resource for students and scholars. * Book Threads *The encyclopedia will provide researchers with a strong knowledge base, including local language for techniques and a list of museums and institutions with related objects and collections for further study. The volume includes 125 excellent stitch diagrams based on "family" group, followed by a stitch list for practitioners, conservators, and curators. The true encyclopedia style of this book makes it easy to use as a reference. * CHOICE *This volume is a great reference book for archaeologists, anthropologists, historians, art historians, textile curators of museum collections, and private collectors. It is a source of inspiration for embroiderers, designers, textile artists, and anyone passionate about embroidery from this interesting area. * International Institute of Asian Studies *Encyclopedia of Embroidery is a very accessible book. It is well laid out, easy to navigate, and easy to read. It is filled with facts, but these facts are presented in a personal and understandable way. The author’s obvious interest and delight in the subject matter, her genuine interest in, not only embroidery but in sharing her knowledge and love of the subject with the reader, is palpable. * The Zay Initiative *This book is relatable, practical, easy to read and packed with information. As with the first volume – this is not just a book, it is a legacy. * The Fabric Thread *This important encyclopedia covers a vast geographic and historical span with not only scholarship and technical expertise but with fascinating insights. Readers from many disciplines, art and embroidery, sociocultural historians and anthropologists as well as those interested in intercultural links will learn a lot from this magnificent production. Gillian Vogelsang-Eastwood and Willem Vogelsang should be complimented on a classic, which provides a vast amount of information within a single volume. -- Shernaz Cama, UNESCO Parsi Zoroastrian Project and University of Delhi, IndiaGillian Vogelsang-Eastwood follows up her masterful volume Encyclopedia of Embroidery from the Arab World with seven further volumes covering the rest of the world. Each is replete with historical and geographical background and delineates the notable embroidered products of each region set into their social context. The techniques are illustrated with clear diagrams of the stitches employed. An essential guide for every textile enthusiast. -- John Gillow, Textile Specialist, UKAn extraordinary achievement, comprehensively exploring the rich embroidering traditions of three regions. Profusely illustrated with photographs, diagrams, and stitch layouts, accessible in writing and explanation, this work will stand as a lasting reference tool for academics, artists, and enthusiasts. -- The Textile Society of AmericaTable of ContentsContributors Preface Acknowledgements Section One: Background Information 1. Introduction 2. Fibres, Threads and Ground Materials 3. Embroidery Tools and Equipment 4. Hand and Machine Embroidery Techniques 5. Designs and Designers Section Two: Historical Embroideries 6. Introduction: Evidence for early Central Asian and Iranian Plateau Embroidery 7. Safavid Period Embroidery 8. Ancient and Historical References to Indian Subcontinent Embroidery 9. Snapshot: Medieval Nepalese Embroidery 10. The Mughal Court and Embroidery 11. Snapshot: Indian Quilts for European Markets Section Three: Embroidery from Central Asia 12. Introduction 13. Snapshot: Embroidered Caps from Central Asia and Afghanistan 14. Embroidery from Kazakhstan 15. Embroidery from Kyrgyzstan 16. Embroidery from Uzbekistan 17. Suzanis 18. Embroidery from Turkmenistan 19. Embroidery from Tajikistan Section Four: Embroidery from the Iranian Plateau 20. Introduction 21. Snapshot: Embroidered Zurkhaneh Breeches 22. Qajar and Later Embroidery 23. Embroidery on Modern Iranian Regional Clothing 24. Embroidery from Afghanistan 25. Snapshot: Afghan Coats and Western Fashion Section Five: Embroidery from the Indian Subcontinent 26. Introduction 27. Embroidery from Baluchistan 28. Embroidery from Pakistan 29. Phulkari Embroidery 30. Introduction to Indian Embroidery 31. Woven and Embroidered Shawls from Kashmir 32. Embroidery from Northern India 33. Embroidery from Western and Southern India 34. Indian Metal thread embroidery (Zardozi) 35. Snapshot: Three Examples of Indian Beadwork 36. Snapshot: Indian Fashion Designers and Hand Embroidery 37. Snapshot: The Roles of NGOs and Other Groups within the Field of Hand Embroidery in India 38. Embroidery from Nepal 39. Embroidery from Bhutan 40. Embroidery from Bangladesh 41. Snapshot: Embroidery and Lace from Sri Lanka 42. Snapshot: ‘Embroidery’ from the Maldives Section Six: Appendices Appendix 1a: Drawings of the Embroidery Stitches Appendix 1b: A-Z List of Embroidery Stitches Appendix 2: International Collections with Relevant Embroideries Bibliography Index

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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 SynopsisAddressing textiles as a distinctive area of cultural practice and field of scholarly research, The Textile Reader introduces students to the key issues essential to the exploration of the textile from both a critical and a creative perspective. The second edition brings together lectures, catalogue essays, academic articles, fiction and poetry, as well as several articles available in English translation for the first time, to capture the diversity of voices informing textile studies today.Content is organized around the themes of touch, memory, structure, politics, and production plus a new section exploring the role of community. With 22 new contributors, this revised edition includes selected work from Maria Fusco, Ursula le Guin, Elaine Igoe, Faith Ringgold, and T''ai Smith. Extended introductions and annotated suggestions for further reading by the editor Jessica Hemmings make the second edition an invaluable resource to students of textiles, craft and material culture.Trade ReviewThis Reader is not merely a collection, but more of an interrogation that speaks from the past to the future. With this in mind, The Textile Reader is not a ‘page turner’, but a constant companion, a new friend that has been there and done that, and thus offers the reader a platform from which to consider and develop the future of the discipline. -- Textile History (of the 1st edition)[T]he pieces are well chosen: they read as though they were selected because someone likes them and finds them interesting, and this gives the selection personality and integrity ... Its greatest value is, however, in its general sense of opening out the genres and the way in which it creates a space for different types of writing on textiles to be considered on an equal footing. -- The Journal of Modern Craft (of the 1st edition)Will undoubtedly become a key resource for all those interested in considering the location of textile practice, but also for those who seek to understand and challenge textile practice's perceived inferiority as a mode of practice. -- Embroidery Magazine (of the 1st edition)An ideal foundational text to give an overview of the broad field of Textile Research. It allows students access to a range of themes and key authors in the field which can then be researched in more depth. -- Dr Fiona Curran, Royal College of Art, UK (of the 1st edition)Evocative, expansive, and enchanting. Hemmings weaves together essays, poems, and literary gems that reveal the nuanced, complex, curious, intimate and political touchpoints of textiles in our lives for a more inclusive, affective reading of our world. I recommend this brilliant anthology to creative scholars, enquiring readers, and knitters, weavers, makers, designers and textile artists worldwide. - Dr Erica de Greef, Co-Director, African Fashion Research Institute, South AfricaThe Textile Reader is an essential companion to anyone studying, researching or critically thinking about textiles. Compelling new essays, wider geographies and a greater diversity of voices bring added depth and richness to this distinctive anthology. The excerpts from novels, short stories and poetry within each thematic section, hold the attention and are reminders of the potential power of textiles to speak both cross-culturally and transnationally. - Dr Christine Checinska, Senior Curator, V&A MuseumTable of ContentsIntroduction 1. Touch 1. Victoria Mitchell (1997) ‘Textiles, Text and Techne’ 2. T’ai Smith (2014) ‘The Haptics of Optics: Weaving and Photography’ (excerpt) 3. Elaine Igoe (2010) ‘The Tacit-Turn: Textile design in design research’ 4. Pennina Barnett (1999) ‘Folds, Fragments, Surfaces: Towards a poetics of cloth’ 5. Catherine Harper (2005) “Meditation on Translation and Seduction” 6. Isak Dinesen (1957) ‘The Blank Page’ 7. Birgitta Nordstro¨m (2020) ‘How do you Footnote a Smile? One Dialog about Two Extremes of Textile Research’ 2. Memory 8. Jenni Sorkin (2000) ‘Stain: On Cloth, Stigma, and Shame’ 9. Isabel Cristina González Arango (2013/2021) ‘Claiming the Right to Memory, Stitch by Stitch: The experience of the Costurero Tejedoras por la Memoria de Sonsón’ (the Sonsón Memory Sewing Group) 10. Marit Paasche (2019) ‘We Are Living on a Star’ (excerpt) 11. Roger Hutchinson (2011) The Silent Weaver (excerpt) 12. Faith Ringgold (2019) ‘Interview: Faith Ringgold and Hans Ulrich Obrist’ (excerpt) 13. Sue Prichard (2005) ‘Collecting the Contemporary: Love Will Decide What Is Kept and Science Will Decide How It Is Kept’ 14. Sarah Scaturro (2020) ‘(Im)mortal Fashion: Iris van Herpen’s “Skeleton” Dress’ 15. Takahashi Mizuki (2019) ‘Hong Kong’s Textile Industrial Heritage: Transformations to a place of weaving creative experiences for all’ 3. Structure 16. Gottfried Semper (1851/1989) ‘The Four Elements of Architecture’ (excerpt) 17. Philip Beesley (1999) ‘Reflexive Textile’ 18. Otti Berger and Judith Raum (1930/2019) ‘Fabrics in Space’ & ‘Weaving and Interior Design’: Voice-over for the video Discussion of Material (excerpt) 19. Catherine de Zegher (1997) ‘Ouvrage: Knot a Not, Notes as Knots’ 20. Gilles Deleuze & Felix Guattari (1987) ‘1440 The Smooth & the Striated’ (excerpt) 21. Sabrina Gschwandtner (2008) ‘Knitting Is…’ 22. Kate Goldsworthy, Rebecca Earley and Kay Politowicz (2019) ‘Circular Speeds: A Review of Fast & Slow Sustainable Design Approaches for Fashion & Textile Applications’ 4. Politics 23. James Fenimore Cooper (1843) Autobiography of a Pocket Handkerchief (excerpt) 24. Arthur C. Danto (2006) ‘Weaving as Metaphor and Model for Political Thought’ 25. Sarat Maharaj (1991) ‘Arachne’s Genre: Towards Intercultural Studies in Textiles’ 26. Susan S. Bean (1989) ‘Gandhi and Khadi, the Fabric of Indian Independence’ 27. Pamela Johnson (2011) ‘100% Cotton’ 28. Galina Kareva (2011/2021) ‘Ivanovo’s Agitprop Textiles: Design and Inscriptions’ 29. Elisa Auther (2008) ‘Fiber Art and the Hierarchy of Art and Craft, 1960–80’ 30. Julia Bryan-Wilson (2017) ‘Queer Handmaking’ (excerpt) 31. Charlotte Perkins Gilman (1892) ‘The Yellow Wallpaper’ (excerpt) 5. Production 32. Roger MacDougall (1951) The Man in the White Suit (excerpt) 33. Maria Fusco (2018) ‘machine oil smells sweet (piecework)’ 34. Melanie Miller (2007) ‘The Romance of Modern Manufacture: A Brief History of Embroidered Embellishment’ 35. Sadie Plant (1997) Zeroes + Ones: Digital women + the new technoculture (excerpt) 36. Ele Carpenter (2010) ‘Open Source Embroidery: Curatorial Facilitation Of Material Networks’ 37. Boatema Boateng (2011) ‘Why Should the Copyright Thing Work Here?’ (excerpt) 38. Sarah Rhodes (2015) ‘Contemporary textile imagery in Southern Africa: a question of ownership’ 39. Yosi Anaya (2016/2021) ‘Heneque´n, A Green Fiber with a Complex History in Yucatan’ 6. Community 40. Nathaniel Hawthorne (1850) The Scarlet Letter (excerpt) 41. Joseph McBrinn (2021) ‘Needlework and the creation of masculinities: “The prick” of patriarchy’ (excerpt) 42. Jools Gilson (2012) ‘Navigation, Nuance and half/angel's Knitting Map: A series of navigational directions…’ 43. Rose Sinclair (2020) ‘Tracing Back to Trace Forwards: What does it mean/take to be a Black textile designer’ 44. Alice Walker (1973) ‘Everyday Use’ 45. Ursula K. Le Guin (1984) ‘The Trouble with the Cotton People’ (excerpt)

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Book SynopsisNeedlework, Affect and Social Transformation offers an original framework for moving beyond binary discourses that class practices of needlework as either feminist or reactionary. Using transnational, contemporary case studies such as the Social Justice Sewing Academy, fictionalised Bangladeshi garment workers as well as the famous Pussyhat Project Katja May suggests a new approach to the interpretation of textile crafts as an affective social practice, and draws on under-represented issues of race.May connects her study to broader material and social conditions of inequality, allowing for a nuanced and sensitive understanding of the role of needlework in feminist political activism. This broader look at how textile crafts function in the realms of politics and activism conceptualizes quilting, dressmaking, embroidery and knitting as routine activities invested with emotions and entangled with material and social conditions as well as political potential.Table of ContentsList of Illustrations Acknowledgements Introduction: The Affective Politics of Needlework 1. Quilting Black Resistance: Slavery’s Afterlives, Creativity and Social Justice 2. Sewing Desire: Homework, Gendered Agency and Bangladeshi Diaspora 3. Stitching Transnational Solidarity: Textile Crafts and Cross-Cultural Encounters 4. Knitting Feminist Politics: Craftivism and Affective Tension Coda : Un-making Whiteness Notes Bibliography Appendix 1 Index

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Book SynopsisFaegheh Shirazi is a Professor in the Department of Middle Eastern Studies at The University of Texas at Austin, USA. She is the author of Brand Islam: The Marketing and Commodification of Piety (2016), Velvet Jihad: Muslim Women's Quiet Resistance to Islamic Fundamentalism (2009), The Veil Unveiled: Hijab in Modern Culture (2001) and the Editor of Muslim Women in War and Crisis: From Reality to Representation(2010). Her research interests include textiles, dress, gender identity discourse, and material culture in the Middle East; the meanings of veiling; rituals and rites of passage as they relate to material culture.Trade ReviewReflects Islam’s wide-ranging and profound impact on fabric, fashion and ritual beyond the Middle East. Stunning images illuminate every chapter and with detailed analysis, this book shifts and deepens our understanding of what the West understands of Islamic textiles and cultures. Essential reading. -- Janis Jefferies, Goldsmiths, University of London, UKThis book illuminates fascinating aspects of cultural and religious signifiers in textiles and dress with themed chapters, linking together local practices with broader traditions throughout the Islamic world. An excellent addition to reference library collections and reading lists for graduate seminars in global dress. -- Nazanin Hedayat Munroe, Director of Textile Technology and Assistant Professor, Business and Technology of Fashion, NYC College of Technology, City University of New YorkTable of ContentsIntroduction 1. Textiles and Symbols: A Mélange of Cultural Signifiers Kanga: Cloth with a Message Lion of Persia: pre-Islamic to Contemporary Iran Felt and Fabrics under Domination: Central Asia Ram’s Horn: Central Asia and Iran 2. Talismanic Textiles: Gender, Status, and the Supernatural Protecting Fiber and Livelihood: the Ladakh Blessed Looms, Blessed Fibers Sacred Colors: Red, White, and Light Blue Beyond the Loom Amulets: Protection Against the Unseen Inscribed Talismanic Shirts Gendered Looms 3. The Politicization of Textiles: Colonialism to the Present India and Cotton: Rejecting Colonial Rule United We Stand: India’s Muslim Weavers West African Wax Cloth Calico: the Forbidden Indian Cotton Indian Cloth in Southeast Asia Keffiyeh: from Functional to Symbolic The Russian Colonial Effect on Central Asian Textiles Russian Political Symbolism on Woven Carpets 4. Textiles and Crisis: Displacement & Occupation Rohingya of Burma Syria Iraq Afghanistan Siddis, Afro Indians Pakistan/India separation: Becoming two nations Indonesia Palestine 5. Textiles and Death Rituals in Islamicate Societies Burial Garment for Muslims: the Kafan Piecing Together the Past: Tiraz and Halaqa Tomb Covers for the Prophet Muhammed: Kiswa Tomb Covers: Signifiers of Status Indian and South Asian Tomb Covers Haji Ali Dargah Ajmer Sharif Dargah Egyptian Funeral Tents: The Art of Khayamiya Conclusion

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Book SynopsisLesley Millar is Emerita Professor of Textile Culture at the University for the Creative Arts, UK. She has been responsible for many international touring textile exhibitions. She has contributed to many publications most recently editing, with Alice Kettle, The Erotic Cloth (Bloomsbury, 2018) and Spaces and Places (2021). In 2008 she received the Japan Society Award for significant contribution to Anglo-Japanese relationships and in 2011 was appointed MBE for her contribution to Higher Education.Alice Kettle is Professor of Textile Arts at Manchester School of Art, Manchester Metropolitan University, UK. She is co-author of Machine Stitch Perspectives with Jane McKeating (2010) Hand Stitch Perspectives (Bloomsbury, 2012) and Collaboration Through Craft (Bloomsbury, 2013) with Dr Amanda Ravetz and Helen Felcey. She has most recently edited, with Lesley Millar, The Erotic Cloth (Bloomsbury, 2018). She is a practising artist with work in international collections including the Whitworth Art Gallery, Manchester, The Crafts Council of Great Britain, Museums in Riga, MAIO in Turin, and the Belger Collection Kansas City USA.

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Book SynopsisJosé Blanco F. is Associate Professor at the Fashion Institute of Technology, New York, USA. He is editor of The Meanings of Dress, 5th edition, and has contributed chapters in edited volumes including The Fashion Reader, The Handbook of Masculinity Studies, The Fashion Business Reader, and Transglobal Fashion Narratives. He has published essays in journals including Fashion Theory, Fashion, Style and Popular Culture, Critical Studies in Men's Fashion, Dress, and The Journal of Popular Culture.

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Book SynopsisA comprehensive study of walking canes from around the world, dating from the distant past to the modern-day. The book presents a historical context on both practical and ceremonial usage. At the same time, specially shot pictures showcase the celebrated A&D Collection of canes, while enlightening prose demonstrates the cane's enduring relevance to society.More than just a mobility aid, the cane has held numerous offices of significance. From the staff of the legendary Monkey King in the classic Chinese Journey to the West, or the stylised crosiers carried by high-ranking prelates from the Roman Catholic church, to the truncheon wielded by Mr Punch in puppet shows, canes are embedded in the culture of almost every country around the globe. Roving the map with one hand and thumbing through history books with the other, A Virtual History of Walking Canes and Sticks seeks not only to introduce the collector to the diverse wealth of canes available but also to entertain the casual reader. Intermingled with over 800 full-colour pictures are descriptions of gadget canes for tradesmen, squirting canes for pranksters, and glamorous Art Nouveau canes for the dapper gentlemen of the '20s. Informative and meticulously researched, this book paves an accessible route into a niche subject while paying homage to our ongoing relationship with canes. This story stretches back as far as history itself.Trade ReviewThis beautiful book by Anthony Moss shows careful research and study; it rises far above other photographic books on antique walking sticks. -- Renzo Traballesi, psychiatrist in Siena, Italy and president of the Mondobastone Association, formed by many Italian antique cane collectorsIt is wonderful to discover a new book on antique walking canes from an obsessive UK walking cane collector. This book is rich in images of selected and rarely seen objects, supported by excellent information and technical data. By integrating historical research with a passionate knowledge for this fascinating object, the author is contributing to open our eyes to a seemingly 'utilitarian' walking cane: by revealing a powerful, meaningful and symbolic artefact. The author demonstrates how these objects can tell stories about the times and the people while offering a glimpse to their past and their future. This is a 'must-read' to any person interested in navigating through the universe of walking canes across history. -- Eduard Tovar Estrada, Antique dealer, Antique Canes AmsterdamTable of ContentsDedicationAcknowledgementsNavigational Aid to EntriesForeword by Dominic StricklandPreface The Dandy A Poem by Deanna MossIntroduction A Short History of the Walking Stick CHAPTER 1 The Jewels in the Crown: Highlights from the A&D CollectionCHAPTER 2 Cane Classifications CHAPTER 3 Cane Handle Motifs CHAPTER 4 The Anatomy of the Cane CHAPTER 5 From The Dawn of Time to 20th Century SophisticationCHAPTER 6 The Umbrella and the ParasolCHAPTER 7: Contemporary Walking Canes - Alive and Popular TodayCHAPTER 8: Materials and TechniquesAppendices Notes on Source MaterialBibliographyWhen the Cane Was King - A Poem by Deanna MossIndex

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Book SynopsisBlackwork is a traditional type of counted-stitch embroidery. Monochromatic, with superb shadow effects, it has been revisited here in a magnificently graphic, contemporary style highlighted with occasional splashes of colour. The 13 patterns designed by Bernadette Baldelli modernize the technique by adding a touch of red to the traditional black and white, and by including both geometric and more figurative styles. You’ll discover a lush, graphic world with embroidery that is simple to do and gives stunning results. You can make a basket, a pouch, wall hangings, place mats, an embroidered shirt, throw blanket and more. Simple diagrams make them easy to do, and there is a wealth of tempting patterns to choose from. Bernadette’s creations are known for their excellent finishing touches and these are no exception.Trade ReviewA beautifully presented book with clear instructions and patterns. The photos are styled nicely and show all the elements of the stitching, which is really helpful for reference whilst making up any of the patterns. I particularly like the french table mats and the elegant little mouse. Because of the way blackwork is done, you could easily adapt any of the patterns to suit a different project. -- Simmi Duffin * Amazon *Blackwork is a Moorish style of embroidery which came to Britain via Spain with Catherine of Aragon. In this book are sixteen modern projects using the traditional stitches, showing how it can be updated and reinvented for the 21st century. There are even some splashes of coloured thread among the black and white which gets my approval. No style should be so mired in tradition that it can’t be dusted down and remixed for a new generation of stitchers. The stitches remain the same and there are instructions for these, but I think the person who will get the most out of this book will be somebody who is already au fait with the basics of embroidery. It will help if they can also sew, as most of the projects involve more than just blackwork. Diagrams and patterns are given for a makeup purse, pillows, lampshade, soft toy mouse and simple child’s tunic dress. Patterns need to be resized or measured out, and then made up following text instructions. Other simpler pieces with less making up include wraps to add interest to candle holders, a sampler, bunting and table mats. Some of the embroidery is geometric; others depict flowers, moths, children playing, words and a fish. All are the type of designs that aren’t contemporary as much as timeless, and Catherine of Aragon would have been familiar with this style of embroidery used to decorate clothing. There are some lovely projects in here that are sure to have wide appeal. -- Rachel A Hyde * Amazon *This book is filled with stunning projects that can be kept as heirlooms or given as treasured gifts. I loved the Elegant Little Mouse and think this will be my first project. The Blackwork Embroidery is both stylish and decorative and really does give a beautiful finish to each of the designs. The projects are complete with instructions and design charts which are easy to understand. Also included are some templates, some will need enlarging and all come with fixings listed. Techniques for your Blackwork are given, but the beauty of this book is really in the projects. The decoration on the Camellia Blouse is exquisite. Blackwork is a simple embroidery technique and beginners can achieve a beautiful result. -- Tracy Shephard * Amazon *This book has beautiful photographs throughout. Clear instructions are written and pictorial. There are handy tips & information regarding the difficulty level of projects, which are both nice additions, for beginners to experienced. Black sampler would be the favourite project to do, being a 'newbie', it would be good for learning the various stitches, and makes a lovely finished piece of work to display. * Customer review *This book is useful to both beginners and experienced stitchers of Blackwork embroidery. It has clear instructions and beautiful photographs. The projects instructions are well laid out and easy to follow. It explains clearly what tools are needed and which threads give the best results. I have enjoyed looking at all the designs and hope to do the Butterfly design first. * Customer review *Table of ContentsMaterials 4 Basic blackwork techniques 6 PROJECTS Tealight holders 10 Padded pouch 14 Moth-patterned cushions 18 Embroidered garland 22 Pendant lampshade 26 Lace-look make-up bag 30 Camellia blouse 34 Black sampler 38 A fish on my satchel 42 Jolly table mats 46 Moorish blanket 50 Little girl’s dress 54 Elegant little mouse 58

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Book SynopsisEmbroidered in 1885-1886, Reading's version of the famous Bayeux Tapestry is a faithful, full-length replica of the original except in a few beguiling details. True to the principles of the Arts and Crafts movement, its Victorian makers in the Leek Embroidery Society, matched their materials, colours and techniques to those of the eleventh century nuns thought to have created the original. The result is an extraordinarily vibrant reproduction, important in its own right and on permanent display in a purpose-built gallery in Reading Museum. Scene-by-scene, read through the story of the succession to the English throne by first Harold and then William the Conqueror. Find out why the Duke of Normandy had a claim to be King of England and what the original purpose of the tapestry may have been. Discover how Victorian society's values affected the replica and how it came to reside in Reading, so fittingly close to the ruins of the Abbey built by William's youngest son, Henry I.

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Book Synopsis From a platypus scarf to a giant crocodile rug, this fabulous activity book features animal-themed knitting patterns and fun puzzles, stories and quizzes to knock your socks off. Louise Walker, also known as Sincerely Louise, presents a selection of her favourite knits for you to try out. Including patterns for both home and to wear, this book includes mini animal trophy heads, triceratops slippers, a lion mug coaster and a giant balloon dog for you to recreate at home. Also, knit along to the ‘Lola the Polar Bear Moves’ comic and create a killer whale, raccoon, corgi, meerkat and a toucan, among many other adorable animals. But this book is not just packed with patterns – have a go at the crafty crossword, the ‘Find the Fibre’ wordsearch, The Knitter’s Arms pub quiz, Louise’s scrap yarn challenge, and many more. Each project is easy to make, only using a basic range of stitches, increases and decreases, so is perfect for beginners wanting to knit something impressive straight away or experienced knitters who are looking for exciting patterns.Trade Review‘The most fun a knitting book can get' * Knitting Review *'This hugely enjoyable guide contains inspiration for both knitting newbies and experienced crafters' * Craft Focus *'This hugely enjoyable guide contains inspiration for both knitting newbies and experienced crafters’ * Craft Focus *

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Book SynopsisWiener Werkstätte: Textiles and their design This book presents new research and archival findings on the textile and fashion designs of the Wiener Werkstätte movement (1903–1932). Textile specialists, art and design historians offer insights into the most important collections and archives in Austria, Switzerland, and the US. The publication explores works by lesser-known female textile artists; the influence of Eastern European folk art, Japanese patterns, and ornamentation textbooks on textile designs; applications in fashion, interior design, film, theater; and marketing strategies used to enter new markets in the US. It includes numerous illustrations of textile samples, many drawn from the Cotsen Textile Traces Study Collection (George Washington University Museum / Textile Museum), one of the largest collections of Wiener Werkstätte fabrics in the US. New research and archival findings on the Wiener Werkstätte textile design International project by the University of Neuchâtel, the George Washington University Museum / Textile Museum (exhibition from July 8 to November 5, 2023), and the University of Applied Arts Vienna Contributions by Susan Brown / Caitlin Condell, Rebecca Houze, Janis Staggs, and others

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Book SynopsisThe so-called chasuble of Thomas Becket (1118–1170) is one of the most magnificent medieval textiles in the Mediterranean region. Richly decorated with ornaments, fabulous animals and figures in lavish gold embroidery with Arabic inscriptions, this precious liturgical garment provides impressive proof of the reutilisation of the Islamic arts in the Christian world. Venerated as a relic of St Thomas of Canterbury, the chasuble was produced in Spanish-Muslim workshops and probably reached Italy as a donation to the Cathedral of Fermo in about 1200. Despite its outstanding artistic quality and fascinating history, this magnificent garment has never hitherto been the subject of a detailed study. Richly illustrated with numerous details, this volume investigates the meaning of the inscriptions and motifs, examines manufacturing techniques and the function of the chasuble, traces its “biography” and places it within the historical context of the political, economic and cultural situation in the Mediterranean region.

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Book SynopsisThe Japanese artist Koho Mori-Newton is a master when it comes to handling silk, which he places in an exciting dialogue with architecture. In this way he creates cult-like spaces which interact with light in a fasci nating way. In addition to the works in silk, this volume also shows various graphic work groups from the last 35 years as well as the Path of Silk, created especially for no intention. Koho Mori-Newton (*1951) is a master of intentional lack of intention. His works appear simple, but the aesthetic which lies behind them is complex. Time and again he investigates the basis of art itself, questions the concept of the originality of the artistic creative process and explores the boundaries of artworks. His oeuvre lures us into a world that exists beyond the obvious. Path of Silk, a labyrinthine installation of room-high panels of silk, worked in China ink by Mori-Newton, presents a fragile interplay of space and light, of heaviness and lightness. Further areas of focus in his creative work are repetition and copy, from which his graphic works derive their own special charm.

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Book SynopsisThis is the first publication to document and contextualize Udondian's creative interrogation of textiles and shifting cultural identities within a global trade system, characterized by transnational movement of goods and people from one part of the world to the other. Victoria-Idongesit Udondian is a contemporary artist whose work is driven by an interest in textiles and the potential for clothing to shape identity, informed by the histories and tacit meanings embedded in everyday materials. She uses these to create interdisciplinary projects that question notions of cultural identity and post-colonial positions in relation to her experiences growing up in Nigeria and her USA-based transnational art practice. Her artworks examine the complexities of migration and racial / cultural identity in the global context.

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Book SynopsisFrom silicone tubes to paint, paper and threads throughout her artistic career stretching back over more than 50 years, Monika Fioreschy has been constantly discovering new forms of expression in the tradition of the art of weaving. In addition to her textile woven pieces, the publication leads through the artist's other, often completely heterogeneous work groups and also presents recent upcycled works created from older objects. Fabric, which usually provides the background for paintings, becomes the object of the picture in Monika Fioreschy's works. Horizontal lines of colour flow through her screened picture spaces, which she always colours and weaves herself. Sometimes these abstractions are broken up by slits or acquire sculptural characteristics because of the silicone tubes, evocatively filled with blood or plant extracts. For her latest works she translates older works with nails and threads to create something new, thereby bringing them into the state of experience of toda

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Book SynopsisLace was a passion of Leopold Iklé (1838-1922), scion of a Hamburg textile dynasty who successfully produced machine-made embroidery over the course of the industrial boom in St. Gallen around 1900. He exported to England, France and the United States, among other places, at a time when St. Gallen was the market leader in the lace industry. Iklé's collection of handmade European bobbin lace and needlepoint from the sixteenth to the nineteenth century originally served as inspiration for his firm's textile designers. Through his passion for collecting, however, it quickly surpassed the practical demands of a simple pattern collection, and in 1904 he donated it to the Textile Museum St. Gallen. Historische Spitzen provides a comprehensive review as well as highlights of the lace samples in this unique collection. Text in German.

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Book SynopsisThis book provides a fascinating look at the intricate transformation of a watercolour painting to a beautiful silk carpet, examining the step-by-step process that led to a revolutionary painterly style in modern carpet design and manufacture. This volume offers beautifully photographed and printed views of these sumptuous carpets in rooms designed by some of the world s leading interior designers. The carpets have been collected by luminaries in the design, fashion, and art worlds including curators Mark Rosenthal and Allan Schwartzman, Joseph Ettedgui, founder of the Joseph brand, Pierre Alexis-Dumas, creative director of Hermes, and celebrities such as Steve Martin, Madonna, and Brad Pitt, among others. Experience the highs and humorous lows of Davis and Provisor s adventures in Asia as they track down the best in materials and craftsmanship, as well as the most authentic cuisine in each region.Trade Review"The fascinating story of Brad Davis and Janis Provisor’s creative journey could fill a book, and now the duo has done just that with the release of a new monograph. The two accomplished artists stumbled into the world of rug making when, on a yearlong stint in China, they attempted to make a silk rug for their New York loft. That undertaking evolved into a wide-ranging exploration into the previously untapped possibilities of rug weaving. Their discoveries in the realm of digital technology ultimately enabled weavers to produce carpet designs previously never thought possible. The beautiful results, reminiscent of original watercolors, and the couple’s revolutionary process serve as a reminder to fellow creatives: Never stop experimenting." —ARCHITECTURAL DIGEST"Artists and designers Brad Davis and Janis Provisor celebrate the 25th anniversary of their innovative partnership in A Tale of Warp and Weft." —ELLE DECOR"Launched in the mid-1990s, Fort Street Studio helped redefine the rug industry by introducing more free-flowing forms, at the time a dramatic departure from the traditional patterns and shapes. Today, their unique creations can be found in remarkable interiors conceived by such designers as Francis Sultana, Christian Lyon, and Jacques Grange as well as in a comprehensive new monograph The Tale of Warp and Weft (Rizzoli)." —GALERIE MAGAZINE

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Book SynopsisIts dry climate means that Egypt boasts an exceptionally rich heritage of preserved ancient textiles. Since 1996, the international research group Textiles from the Nile Valley has been studying these Roman, Byzantine and early-Islamic textile artefacts, many of which have found their way into European and North American museum collections. The research group, consisting of curators, archaeologists, textile conservators and scientists, organises a biennial conference at Katoen Natie HeadquARTers in Antwerp, and publishes a series of unique books on the importance of Egyptian textiles. This latest volume brings together the findings from the 11th conference, which was held from 25 to 27 October 2019. The focus is on the history of textile excavating and collecting, which goes back to the late 19th century. The book contains 18 text contributions describing recent fieldwork, conservation treatments and scientific research worldwide, in collaboration with major universities and museums such as the Victoria & Albert Museum in London and the Hermitage in St. Petersburg. The book is being published to mark the 12th international scientific Textiles from the Nile Valley Conference, which is taking place from 12 to 14 November 2021 in Antwerp. Text in English and German.Table of Contents6 Preface 7 A brief note on the need for 14C-redating 7 Acknowledgements 8 Abbreviations CHAPTER 1 EXPLORERS, FIRST COLLECTORS AND TRADERS 12 A very Victorian tourist: The Reverend Greville John Chester and 19th-century textile collecting at the Victoria and Albert Museum Benjamin Hinson 22 The question of “What went before?” and George Hewitt Myers: The formation of The Textile Museum archaeological collection Sumru Belger Krody 34 Alfred Wiedemann, Émile Brugsch, and the trade in mummy textiles at the end of the 19th century Veerle van Kersen 42 Late Antique textiles from the Robert Forrer collection in Polish museums in the context of his activities as a textile dealer. Preliminary research Anna Głowa 50 A survey of the “Coptic” textiles from the Hermitage collection Olga Osharina 60 Textiles from Egypt’s first millennium AD in Danish museum collections Anne Hedeager Krag 74 Sir Charles Nicholson and the Nicholson Collections at the University of Sydney Glennda Susan Marsh-Letts and Candace Richards 86 Collecting on the side: Textiles from the 1913–14 excavations at Antinoopolis held in three Australasian museums Rosanne Livingstone 96 The first discovery of figured silks in Antinoopolis: Carl Schmidt’s excavations in Egypt Kosuke Goto 112 One of the last choices of Albert Gayet in the field: A child’s tunic from Antinoopolis in Lyon Fleur Letellier-Willemin 120 Fundort bekannt! Stoffe aus Qarara Claudia Nauerth unter Mitarbeit von Béatrice Huber CHAPTER 2 RECEPTION OF TEXTILES IN THE EARLY 20TH CENTURY 134 “Coptic” fabrics, collectors, and the Fauves Nancy Arthur-Hoskins CHAPTER 3 FROM COLLECTIONS: SCIENTIFIC METHODS AND CONSERVATION 144 Mini-weavings from Gebel Zeit Roberta Cortopassi and Mohamed Dallel 152 Site-by-site research on First Millennium AD textiles from Egypt at the British Museum: Conservation and documentation of archaeological collections Anna Harrison, Elisabeth R. O’Connell and Frances Pritchard 166 From the Middle Ages to the Modern Era: A Coptic liturgical garment in the Römisch-Germanisches Zentralmuseum Mainz Petra Linscheid with a contribution by Ina Vanden Berghe CHAPTER 4 TEXTILES FROM RECENT EXCAVATIONS 180 Textile finds from burial 2003-NW-39 of the Fag el-Gamus necropolis Anne Kwaspen and Kristin South 192 Ein Mantel für die kalten Tage Béatrice Huber 202 New finds from old excavations in WesternThebes. Nineteenth-century scholars and the textiles from Deir el-Bachît Sabrina Tatz 210 The spring 2019 season at Hisn al-Bab: Care, study and general presentation of textile finds from Area 9 (6th–7th centuries) Amandine Mérat 220 Bibliography 234 Index names 235 Index places 236 Index textile and costume terms 238 Index museums and institutions 239 Authors

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Book SynopsisExplores the two-hundred-year-old American tradition of freewheeling, improvisational, and asymmetrical quilts, whose makers experimented boldly with design, color, and pictorial motifs. This work examines the aesthetics and the social history of quilts from the nineteenth century onwards, including Amish, African American, and modern art quilts.Table of ContentsForeword Acknowledgments International Quilt Study Center Collections "Acts of Pride, Desperation, and Necessity": Aesthetics, Social History, and American Quilts A Catalogue of Quilts Notes Bibliography Contributors

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Book SynopsisAround 1515, Raphael (1483-1520) designed a set of tapestries for Leo X, the first Medici pope. Each was sumptuously woven in gold, silver, and silk, and depicted scenes from classical mythology with inventive grotesques. Now lost, these spectacular, grand-scale textiles are reconstructed in Raphael's Tapestries and set among a series of unprecedented decorative projects that Pope Leo commissioned from the artist. Likely produced by the Brussels weaver Pieter van Aelst, the tapestries pioneered a new all'antica style analogous with contemporary painted and sculpted interior programs. Tapestries played a central role at Leo's court, as spectacle and as propaganda, and the Grotesques of Leo X would inform tapestry design for the next three centuries. Their beauty and complexity rivaled those of contemporary painting, and their luxurious materials made them highly prized. With this new study, the Grotesques take their rightful place as Renaissance masterworks and as documents of the fervent humanist culture of early 16th-century Rome.Trade Review“Writing about lost works is difficult, and Karafel handles the task with eloquence, offering a logical presentation, clearly written text, and outstanding illustrations . . . Scholarly yet accessible, this book contributes nicely to discussion of understudied aspects of Renaissance art.”–Choice * Choice *

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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 SynopsisPractical information usually gained only through years of work experience and word of mouth is presented in this handbook for textile designers, students, interior designers and others who use textiles in their work.

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Book SynopsisOffers a new understanding of the history of global human rights through textiles of awareness and activism. Of all the textile forms linked to human rights activities, one form the quilt - has proven an especially potent and popular form for individuals, working alone or as part of organised groups, to subversively or overtly act for human rights.Trade Review"Highly recommended for all audiences, Quilts and Human Rights would illuminate any library."—Kathy Edwards, ARLIS/NA Reviews"A remarkable addition to quilt studies."—Shane Rasmussen, Journal of Folklore Research"This moving and important book chronicles the work of countless quilt artists who have used their talent and passion to address an array of human rights issues. Photos of the quilts are accompanied by detailed artist's statements that thoughtfully explain the genesis of each piece. Telling these stories in cloth is a powerful and effective means of expression to spotlight critical human rights issues."—Diane Rusin Doran, Machine Quilting“This well-researched and important book sheds new light on the work of thousands of quilt artists who have used needle, thread, and cloth for advocacy, education, and reflection on human rights.”—Rev. Canon Mpho Tutu, executive director of the Desmond and Leah Tutu Foundation “Beautifully written, with a venerable combination of straightforward expression and intellectual sophistication, Quilts and Human Rights successfully bridges the fields of women’s studies and visual arts with a brilliant survey of national and international human rights quilts.”—Carolyn L. Mazloomi, founder and director of the Women of Color Quilters Network “Quilts and Human Rights tells superbly scaffolded stories about the powerful intersection of threats and threads.”—Patricia A. Turner, author of Crafted Lives: Stories and Studies of African American Quilters Table of ContentsList of IllustrationsForeword by Archbishop Desmond TutuPrefaceAcknowledgmentsA Quilted ConscienceA Gallery of QuiltsNotesBibliographyIndex

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Book SynopsisHighlights the dazzling designs and intricate needlework of America's treasured material culture. From whole cloth to pieced quilts to elaborate appliqué examples, all reflecting various design movements such as Neoclassicism and Eastern exoticism, the contributing authors address the development of quilt making in America from its inception in the 1700s to the period of the US Civil War.Trade Review"This generous volume testifies to the wealth of data available at the IQSCM and demonstrates its dedication to using its collections for cutting-edge research. In conjunction with its earlier volume, American Quilts in the Modern Age, 1870–1940 (2009), it is a rich resource for quilt studies education and related courses in American history, women's history, decorative arts, and textiles."—Teri Klassen, Journal of Folklore Research"An important contribution to scholarship on the art and history of the quilt, American Quilts in the Industrial Age does additional work for the broader field of material culture studies, providing a model for collaborative scholarship and what can be learned through the rigorous archaeology of objects."—B.L. Herman, Choice"The ambitious goal of the IQSCM to successfully relate to quilt scholars and enthusiasts on every level has more than been met in this volume. The vivid imagery and narrative offers a glimpse into the lives of American women through the work of their hands and preserves an important part of the history of the first hundred years of the American republic."—Sherry Massey, Chronicles of Oklahoma"From a genealogical perspective, this volume would be an important addition to the bookshelf for any genealogist who owns family quilts or would just like to study the art of quilt making."—Melissa Barker, FORUM“This book connects the large and immensely important collection at the International Quilt Study Center and Museum in Nebraska with the historical context in which these quilts were made. It covers an important topic that will be of interest to a wide range of scholars, collectors, and practitioners. An important contribution to the field.”—Linda Eaton, director of collections and senior curator of textiles at Winterthur Museum, Garden, and Library at the University of Delaware and the author of Quilts in a Material World “This comprehensive catalog will be extremely useful to quilt scholars and lovers around the world. It does an excellent job of showing us how each quilt has something to teach us. This book will appeal both to a scholarly audience and to a broader audience of quilt makers and enthusiasts.”—Aimee Newell, executive director of the Luzerne County Historical Society (Pennsylvania) and the author of Stitch in Time: The Needlework of Aging Women in Antebellum AmericaTable of ContentsPreface Acknowledgments Introduction: American Quilts in the Industrial Age, 1760–1870 Carolyn Ducey, Christine Humphrey, and Patricia Cox Crews 1. Early Spreads Lynne Z. Bassett and Linda Baumgarten 2. Whole Cloth Quilts Lynne Z. Bassett, Linda Baumgarten, and Christine Humphrey 3. Chintz Appliqué Quilts Carolyn Ducey 4. Pieced Quilts Janice E. Frisch and Xenia Cord, Patricia Cox Crews, Carolyn Ducey, Jonathan Gregory, Virginia Gunn, and Christine Humphrey 5. Appliqué Quilts Virginia Gunn, Carolyn Ducey, and Jonathan Gregory Notes Bibliography Contributors Index

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Book SynopsisThis collection explores how the body became a touchstone for late antique religious practice and imagination. When we read the stories and testimonies of late ancient Christians, what different types of bodies stand before us? How do we understand the range of bodily experiencessolitary and social, private and publicthat clothed ancient Christians? How can bodily experience help us explore matters of gender, religious identity, class, and ethnicity? The Garb of Being investigates these questions through stories from the Eastern Christian world of antiquity: monks and martyrs, families and congregations, and textual bodies.Contributors include S. Abrams Rebillard, T. Arentzen, S. P. Brock, R. S. Falcasantos , C. M. Furey, S. H. Griffith, R. Krawiec, B. McNary-Zak, J.-N. Mellon Saint-Laurent, C. T. Schroeder, A. P. Urbano, F. M. YoungTable of ContentsList of Abbreviations | xi Introduction. Dangling Bodies, Robes of Glory: The Garb of Embodiment in Ancient Christianity Georgia Frank, Susan R. Holman, and Andrew S. Jacobs | 1 Part I: Making Bodies Body and Soul: Union in Creation, Reunion at Resurrection Frances Young | 15 Jesus’s Dazzling Garments: Origen’s Exegesis of the Transfiguration in the Commentary on Matthew Arthur P. Urbano | 35 Conversing with Clothes: Germanos and Mary’s Belt Thomas Arentzen | 57 Part II: Performing Bodies “Denominationalism” in Fourth-Century Syria: Readings in Saint Ephraem’s Hymns against Heresies, Madrāshê 22–24 Sidney H. Griffith | 79 A School for the Soul: John Chrysostom on Mimēsis and the Force of Ritual Habit Rebecca Stephens Falcasantos | 101 A Question of Character: The “Labor of Composition” as “Preventative Medicine” in Theodoret of Cyrrhus’s Religious History Rebecca Krawiec | 124 “I Want to Be Alone”: Ascetic Celebrity and the Splendid Isolation of Simeon Stylites Andrew S. Jacobs | 145 Crowds and Collective Affect in Romanos’s Biblical Retellings Georgia Frank | 169 Christian Legend in Medieval Iraq: Siblings, Sacrifice, and Sanctity in Behnam and Sarah Jeanne-Nicole Mellon Saint-Laurent | 191 Part III: Scripting Bodies Five Women Martyrs: From Persia to Crete Sebastian Brock | 221 Gregory of Nazianzus’s Poetic Ascetic Aesthetic Suzanne Abrams Rebillard | 234 Eclipsed in Exile: In Defense of Athanasius and the Ethiopians Bernadette McNary-Zak | 263 Sacred Bonds: Religion, Relationships, and the Art of Pedagogy Constance M. Furey | 276 “And Yet the Books”: Patristics in the Footnotes Susan R. Holman | 294 Cultural Heritage Preservation and Canon Formation: What Syriac and Coptic Can Teach Usabout the Historiography of the Digital Humanities Caroline T. Schroeder | 318 Bibliography | 347 List of Contributors | 391 Index | 397

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Book SynopsisIndian Baskets of Northern California and Oregon is a richly illustrated, detailed study of the Native American basketry of this fascinating region. The book is the result of decades of research by Ralph Shanks who is a careful scholar and delightful author.The book covers the basketry of the Yurok, Hupa, Karuk, Wiyot, Tolowa, Wintu, Yana, Atsugewi, and other California cultures. It also details the baskets of Oregon peoples including the Klamath, Kalapuya, Wasco, Coos, Tillamook, Tututni, and others.The book features nearly 200 previously unpublished color photographs of baskets of Northern California and Oregon from museums and private collections in the United States and Europe.

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Book SynopsisFocusing on the handmade and performative aspects of history and material culture, this title re-stages, refigures, and replays the role of traditional crafts in large-scale installations that reconsider the construction of collective memory and identity.

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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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