Textiles and fibres Books

Book SynopsisAn exploration of traditional Koran textile art techniques. Bojagi, sometimes called Pojagi, is a traditional Korean textile art. Centuries old, it was originally textiles made for every day living with scraps of left-over fabrics artfully put together. They often resemble works of modern artists such as Mondrian and Klee. Today, the technique now produces beautiful textiles that are fast influencing textile art in the West, particularly amongst quilters. Using her own work and the work of other artists, leading expert on the subject Sara Cook demonstrates the techniques and how modern textilers can interpret the principles of Bojagi creatively in exciting new work. The book covers a brief history and understanding of Bojagi in Korean culture, then covers: Fabrics and sewing equipment (incl. silk, hemp and ramie); Obanseak – technique and designs of bojagi colours and symbolism; Colour Seams and Embellishments; and Jagokbo – textiles pieced from tiny scraps. A beautiful book that offers textile artists and quilters a range of ideas to use i their own work. As with the obsession with Shibori, this technique brings one of the East's most creative textiles to a Western audience for the first time.

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Book Synopsis A unique collection of crochet patterns for the 12 birds of Christmas. Taking inspiration from the famous Christmas carol, Kerry Lord, author of the Edward’s Menagerie series and founder of TOFT yarns, has created this unique crochet collection. Including John the Spotted Woodpecker for 12 Drummers Drumming, Lydia the Greylag Goose for 6 Geese a-laying and, of course, Felix the Partridge in a pear tree, this is Christmas fun at its most creative. Patterns include:12 Drummers Drumming – John the Spotted Woodpecker11 Pipers Piping – Nina the Sandpiper10 Lords-a-Leaping – Agnes the Heron9 Ladies Dancing – Loise the Cormorant8 Maids-a-milking – Delilah the Cattle Egret7 Swans-a-swimming – Margot the Black Swan6 Geese a-laying – Lydia the Greylag Goose5 Gold Rings – Gilbert the Pheasant4 Calling Birds – Peter the Blackbird3 French Hens – Ruth the Hen2 Turtle Doves – Beatrice the Turtle DoveAnd a Partridge – Felix the PartridgeTrade Review'There is no better way to celebrate every crafter’s favourite season.' * Let’s Knit *'It seems that Kerry Lord can do no wrong when it comes to designing delightful toys and her latest collection for Christmas is no exception!' -- Crochet Now'Perfect for decorating your tree or for giving as gifts' -- Simply Sewing

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Book SynopsisKikikickz is France's leading online sneaker reseller, specializing in rare and limited-edition models. Fashion and lifestyle journalist Alexandre Pauwels is the copywriter at Kikikickz.

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Book SynopsisDiscover a colorful, contemporary approach to traditional whitework with best-selling embroidery expert Trish Burr.Fresh and uplifting, Trish Burr?s use of color brings a joyful lease of life to her stunning whitework designs.Complete with a comprehensive guide to getting started, and arranged in order of difficulty, this inspiring book contains 10 complete, brand-new projects, each with clear step-by-step instructions, an iron-on transfer, a full-size template and sumptuous photography.An expert teacher, and best-selling author, Trish has carefully constructed the book to appeal to beginners looking for a simple, no-nonsense approach to the technique, as well as more advanced embroiderers looking for inspiration.With subjects ranging from striking florals to birds, bees and butterflies, this book will inspire and delight with its variety of subjects. Contained within are: Re-usable iron-on transfers for all 10 designs, as well as full-size traceable templates A comprehensive illustrated stitch library of all the stitches used throughout A handy guide to selecting materials, preparing your fabric and using color Easy-to-follow step-by-step instructions with plenty of inspiring photography

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Book SynopsisThere is not just one story of silk.In silk is science, history and mythology.In silk is the future.Aarathi Prasad's Silk is a gorgeous new history weaving together the story of a unique material that has fascinated the world for millennia.Through the scientists who have studied silk, and the biology of the animals from which it has been drawn, Prasad explores the global history, natural history, and future of a unique material that has fascinated the world for millennia.For silk, prized for its lightness, luminosity, and beauty is also one of the strongest biological materials ever known. More than a century ago, it was used to make the first bulletproof vest, and yet science has barely even begun to tap its potential. As the technologies it has inspired from sutures to pharmaceuticals, replacement body parts to holograms continue to be developed in laboratories around the world, they are now also beginning to offer a desperately needed, sustainable alternative to the plastics chokiTrade Review‘A tour of the anecdotal, the industrial and the gruesome . . . Readers coming to this globetrotting and species-leaping volume expecting vignette after genteel vignette of 5,000-odd years of Chinese silk manufacture are in for a nasty shock. Here be spiders, and not just spiders, but metre-long Mediterranean clams, and countless moth species spinning their silks everywhere from Singapore to Suriname’ Financial Times ‘The global scope of Prasad’s book draws out its most compelling material links’ Daily Telegraph, four-star review ‘Prasad is such an infectious and knowledgeable enthusiast that it is hard not to be swept away by her enticing facts’ Literary Review 'Both scientific and poetic, this remarkable book shows how the great tides of history are shaped through human encounters with the intricate variety of the non-human world'David Wengrow, co-author of the international bestseller The Dawn of Everything ‘Fascinating . . . Prasad cross-crosses centuries and cultures to tell of the intrepid explorers, botanists, scientists and entrepreneurs who were determined to unravel the secrets of silk production. Her book captures their persistence and her own in the search for the little-told but revelatory stories of human curiosity and ingenuity’ Clare Hunter, author of Threads of Life 'A wonder of a narrative. Like the transformation of caterpillar to moth that she explores so beautifully, this is a network of threads that spin around the world and tell a story of science, of history, of humanity itself' Kate Strasdin author of The Dress Diary of Mrs Anne Sykes ‘An incredible read. Deeply researched, dazzling’ Seirian Sumner, author of Endless Forms ‘Prasad weaves her strands of science, history and culture to create a rich narrative tapestry that's as sumptuous as the material itself. Full of fascinating detail’Gaia Vince, author of Nomad Century

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

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Book SynopsisA new "farm-to-closet" vision for the clothes we wear--by a leader in the movement for local textile economies There is a major disconnect between what we wear and our knowledge of its impact on land, air, water, labor, and human health. Even those who value access to safe, local, nutritious food have largely overlooked the production of fiber, dyes, and the chemistry that forms the backbone of modern textile production. While humans are 100 percent reliant on their second skin, it’s common to think little about the biological and human cultural context from which our clothing derives. Almost a decade ago, weaver and natural dyer Rebecca Burgess developed a project focused on wearing clothing made from fiber grown, woven, and sewn within her bioregion of North Central California. As she began to network with ranchers, farmers, and artisans, she discovered that even in her home community there was ample raw material being grown to support a new regional textile economy with deep roots in climate change prevention and soil restoration. A vision for the future came into focus, combining right livelihoods and a textile system based on economic justice and soil carbon enhancing practices. Burgess saw that we could create viable supply chains of clothing that could become the new standard in a world looking to solve the climate crisis. In Fibershed readers will learn how natural plant dyes and fibers such as wool, cotton, hemp, and flax can be grown and processed as part of a scalable, restorative agricultural system. They will also learn about milling and other technical systems needed to make regional textile production possible. Fibershed is a resource for fiber farmers, ranchers, contract grazers, weavers, knitters, slow-fashion entrepreneurs, soil activists, and conscious consumers who want to join or create their own fibershed and topple outdated and toxic systems of exploitation..Trade Review“Collectively, we’ve been slowly waking up to the urgent need to farm our food in ways that restore and regenerate soils and whole landscapes; create connections between people, land, animals, and seasons; and rebuild local economies. Fibershed turns our attention to a parallel, equally urgent frontier: our clothes. We need this book, and we need it now.”—Nicolette Hahn Niman, author of Defending Beef“Fibershed is a must-read for all clothing brands, whether years into their sustainability journey or just at the beginning. Burgess encourages us to think deeply and holistically about the impacts of fashion, reconsider our industry’s model of overconsumption, and to approach flashy biotech solutions with a critical eye. Fibershed proves that fashion can be a force for good, empowering farmers and makers while supporting local communities with Climate Beneficial textile supply chains.”—Megan Meiklejohn, Sustainable Materials and Transparency Manager, Eileen Fisher“Fibershed is a deeply informed exploration of the political ecology of clothing and an urgent invitation to a new way of being in the world; one that respects the soil, the cycles of the year, and life itself. In this visionary manifesto of hope, Rebecca Burgess chronicles a personal journey with profound global implications: Human economies need not result in the degradation of either human culture nor the environment, but might, if done well, lead to the enrichment of both.”—Jeffrey Creque, PhD, Director of Rangeland and Agroecosystem Management, Carbon Cycle Institute“This is an important book. It is bold, practical, optimistic––a vision of how things must be.”—Kate Fletcher, professor, Centre for Sustainable Fashion, University of the Arts, London, UK“Rebecca has made an incredible contribution to the slow fashion movement through her organizing and advocacy work with the Fibershed organization. I’m thrilled to know that this work is now available to a broader audience through this thoughtful book. May we all learn from her wisdom, research, and knowledge as we create even deeper connections between farms, fiber art, and fashion.”—Katrina Rodabaugh, author of Mending Matters“We clothe ourselves using fibers from cotton, trees, animals, and oil. The sins of oil-based fibers are well known, but lesser known are those of plant- and animal-based fiber production—themselves major contributors to global desertification and climate change. If we want to offer hope to future generations, we will have to root not only the food we eat, but the clothing we wear in a new, regenerative agriculture that manages livestock using the holistic planned grazing process. Fortunately, movement in this direction is underway. Rebecca Burgess’s well-researched book stokes a fire that has already been lit by many organizations collaborating and networking around the globe, and connects the dots between our clothing and our life-supporting environment. I would encourage everyone who wears clothes and has any concern for future generations to read this highly educational book.”—Allan Savory, president and cofounder, Savory Institute“Rebecca Burgess is the Alice Waters of the slow fiber movement. Within the pages of Fibershed, she proves that carefully clothing oneself is a revolutionary act. While many wait for distant corporations and governments to curb toxic, unethical, and extractive industrial practices, Burgess demonstrates that the revolution is at hand in our own backyards. Fibershed is required reading for any clothing company that claims environmental and ethical responsibility.”—Dan Malloy, surfing ambassador, Patagonia; cofounder, Poco Farm, Ojai, CA“Fibershed is a story of vision, persistence, and kindness. With patience and grace, Rebecca has restored a sense of gratitude for the overlooked grasses and herbaceous plants that were once our second skin. From the living world around her, she has stitched together the broken strands of textile arts, creating an economy of place where makers are artists and clothing is revered.”—Paul Hawken, author of Blessed Unrest; editor of Drawdown

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Book SynopsisThis glorious book is a modern guide to weaving, an ancient craft that is reaching new heights of popularity, from acclaimed contemporary weaver and textile artist Rachna Garodia. It contains a wealth of practical advice and tons of inspiration for every aspect of this endlessly adaptable craft, from gathering materials to making and exhibiting ambitious woven masterpieces, bringing in a wide selection of mixed media. Meditative and calming, a session at the loom is a great way to relax, and create something beautiful in the process. And you don’t need expensive equipment: you can start your weaving journey on a small wooden frame or even a piece of cardboard, and it’s now easy to book time on larger looms outside the home. The book includes: • Setting up and using your loom, from the simplest small frames to sophisticated table and floor looms. • Design and planning: taking inspiration from the natural world, sketching, photographing, making moodboards and exploring colour. • Gathering materials: from natural straw, grass, flowers, feathers, bark and seedpods to more traditional yarns and threads and even paper and photographs. • Personalising your work by incorporating well-loved old fabrics and precious sentimental items. • Unusual techniques: weaving with photographs or directly onto handmade paper, three-dimensional sculptural weaving, non-loom techniques such as looping and netting. • Gorgeously illustrated with work from the author and other artists from around the world, this book is an engaging and beautiful introduction to weaving for established textile artists or those coming to the craft for the first time.Table of ContentsIntroduction 6 Woodland Walk 8 River Walk 28 Walk Through the Seasons 50 Daily Commute 70 A Walk Down Memory Lane 88 Walk With a Poem in Your Heart 106 Weaving Basics 122 Resources 126 Acknowledgements 127 Index 128

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Book SynopsisThe story of humanity is the story of textiles-as old as civilization itself. Textiles created empires and powered invention. They established trade routes and drew nations' borders. Since the first thread was spun, fabric has driven technology, business, politics, and culture. In The Fabric of Civilization, Virginia Postrel traces this surprising history, exposing the hidden ways textiles have made our world. The origins of chemistry lie in the coloring and finishing of cloth. The beginning of binary code-and perhaps all of mathematics-is found in weaving. Selective breeding to produce fibers heralded the birth of agriculture. The belt drive came from silk production. So did microbiology. The textile business funded the Italian Renaissance and the Mughal Empire; it left us double-entry bookkeeping and letters of credit, the David and the Taj Mahal. From the Minoans who exported woolen cloth colored with precious purple dye to Egypt, to the Romans who wore wildly expensive Chinese silk, the trade and production of textiles paved the economic and cultural crossroads of the ancient world. As much as spices or gold, the quest for fabrics and dyes drew sailors across strange seas, creating an ever-more connected global economy. Synthesizing groundbreaking research from economics, archaeology, and anthropology, Postrel weaves a rich tapestry of human cultural development.

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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 SynopsisFrom one of the Vogue Business 100 Innovators List - 2023 ‘[T]his wonderful project and book, executed with great charm and creativity, is an important message.’ Anya Hindmarch In this personal investigation into ethical and traceable leather, fashion designer Alice Robinson begins a ground-breaking journey into the origin story of leather and its connection to food and farming. As a fashion student, Alice started to question the material she worked with. Leather is universally acknowledged as a luxury material, from which desirable bags, shoes and clothing are made. But how much do we know about where it comes from? Alice’s questions led back to her childhood home in rural Shropshire, where she decided to buy Bullock 374 and follow its journey from a local farm to the abattoir, then to the butchery and finally to the tannery. The journey culminates with Alice’s own design practice as she creates a collection based on this single hide. In doing so, Alice would begin to see the bigger picture – and connect farm, food and fashion for the first time to understand the true meaning of provenance, value and beauty.Trade Review‘The idea that fashion is grown and comes from a farm always surprises people as we are so disconnected from where the things we wear come from. So, this wonderful project and book, executed with great charm and creativity, is an important message.’ Anya Hindmarch‘Alice has conjured a fire inside my belly with her book. I'm pulling out and questioning every garment in my wardrobe, asking myself why it's not made from natural fibres. Her words, her methods and her ideology all have meaning and spirit threaded through them so deeply you can't stop yourself being drawn into her world. The fashion industry better watch out, they have a hurricane coming their way.’ Zoë Colville, farmer and author of The Chief Shepherdess ‘Alice’s dedication to her art takes her to realms where few artists would go; seeing an animal through its life, building relationships with it, before butchering it and turning each part into something of extraordinary value. At times grotesque, we’re nevertheless taken on a journey where it transcends to a thing of pure beauty. We all need to look through her eyes in order to understand what it takes to find a respectable, renewable and sustainable future. ’ Gizzi Erskine, chef, food writer and author of Restore‘Sometimes the best innovation is about looking back to move forward. Alice’s work epitomises this concept: the way that she unravels past processes in order to understand how things were made before industrialisation is truly an exploration of what fashion could become, just as much as what fashion was. Fashion should not anymore be just about products, we have too many products and we have lost sight as to how they are made and by whom. Fashion should be about its processes just as much. We should be able to choose what we wear not just because of what it looks like, but because of what it went through. We should choose to wear things of minimum environmental impact and maximum storytelling potential. Fashion should be an exploration of our soil, nature, instincts and capabilities. Alice’s work is incredibly original because it takes into account all of the above, from both a creative design and a philosophical perspective.’ Orsola de Castro, co-founder of Fashion Revolution and author of Loved Clothes Last‘I consider it an absolute privilege to have first met Alice Robinson a few weeks after she caused a storm feeding the fashion world her sheep. Meeting Malcolm the farmer was the catalyst that such a genuine and driven person needed to connect farming and fashion in a way that can make both industries proud. I’m lucky to count some of the country's most innovative chefs and farmers as friends. I can honestly say Alice will make the most impact with this illustrious bunch. Rebooting the UK leather supply chain is actually a near-impossible task. But by the last page you will, like me, think she just might do it.’ Matt Chatfield, farmer and founder of The Cornwall Project

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Book SynopsisThis book offers a state-of-the-art view of leather making, based on the scientific principles underpinning the technology. In particular, it contributes to the understanding of the modern leather industry, allowing practitioners to make judgements about day-to-day problems in the tannery and how change can be applied in a predictable way. Major themes running through the book are the economics and environmental impact of leather making and how these will ensure the sustainability of the industry. This second edition of Tony Covington’s Tanning Chemistry is a revision, update and extension in collaboration with a new co-author, Will Wise. The update reflects the advances made in the past decade, including a discussion of the impact of new information concerning the chemistry of sulfide. The original chapters have been re-organised and new chapters on novel modes of reagent delivery and the principles of finishing are now included. Enzymology is addressed as a separate topic, as are environmental impact and the future of leather. The book will be useful to all those involved in the supply chain, from farm, through students, chemical suppliers and tanners, to leather goods brands. Leather science is the key to understanding leather technology, to make it work, to make it work better and to keep it ahead of the competition.Table of ContentsCollagen and Skin Structure; Skin and Its Components; Curing and Preservation of Hides and Skins; Soaking; Unhairing; Liming; Deliming; Bating; Pickling; Tanning; Mineral Tanning: Chromium(III); Mineral Tanning; Vegetable Tanning; Other Tannages; Post-Tanning; Dyeing; Fatliquoring; Enzymology; Reagent Delivery; Drying; Finishing; Environmental Impact; Theory of Tanning: the Concept of Link-Lock; The Future of Tanning Chemistry; The Future for Leather

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Book SynopsisElectronics in Textiles and Clothing: Design, Products and Applications covers the fundamentals of electronics and their applications in textiles and clothing product development. The book emphasizes the interface between electronics and textile materials, detailing diverse methods and techniques used in industrial practice. It explores ways to integrate textile materials with electronics for communicating/signal transferring applications. It also discusses wearable electronic products for industrial applications based on functional properties and end users in sectors such as defense, medicine, health monitoring, and security.The book details the application of wearable electronics and outlines the textile fibres used for wearable electronics. It includes coverage of different yarn types and fabric production techniques and modifications needed on conventional machines for developing fabrics using specialty yarns. The coverage includes problems faceTable of ContentsWearable Electronics. Fabric Production Techniques for Wearable Electronics. Design of Circuits and Integration Into Wearable Electronic Fabrics. Product Development Using Wearable Electronic Integrated Fabrics. Software Development for Wearable Electronics. Design and Development of Wearable Electronic Flexible Solar Tent. Garment Integrated Wearable Electronic Products. Scope for the Research Work. References.

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Book SynopsisUnderstanding of polymer interactions is important for effective processing of plastics and their blends, mixing with nanoparticles, and understanding of their mechanical and physical (e.g., electrical) properties. This book describes a new physics of interactions in polymers that challenges existing theories, and explains the concept of entanglement in a very different way.Rheology is formulated with different parameters defi ning the physics of dual-phase and cross-dual-phase. The rubbery behavior of thermoplastics is explained quite differently to conventional theory.Rheo-fluidification experiments which are applicable to industry (injection molding, extrusion, sheet forming, etc.) are described and analyzed, including molding under conditions of reduced viscosity (up to several hundred percent). The application of this theory to industry has already been proven by a number of successful derived inventions.

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Book SynopsisA practical and inspirational book to learn how to develop a variety of textile techniques from personal visual sources. This book teaches you how to develop a diverse range of textile surface design techniques from personal visual inspiration sources, and apply them to your projects. Discover an assortment of traditional and unconventional methods, from smocking to soldering, through projects such as fashion and interiors items and textile art. The book encourages you to explore visual sources to discover their potential for imagery, texture, structure and manipulation, supporting you in the development and creation of your own unique pieces. Learn how to explore alternative possibilities, manipulate existing textile surfaces or create new ones. Whether you are a student, experienced artist or maker looking for new inspiration and techniques, this is an essential practical book.Trade Review[T]his is an exceedingly useful book that is well presented, with plenty of inspiring images of results you can achieve. * Textile Fibre Forum *Table of ContentsIntroduction Visual Research Repeat Structures Building Surfaces From Scratch Decorating Existing Surfaces Manipulating Surfaces Through Stitch Deconstructing and Disrupting Surfaces Trims and Edges Suppliers Gallery About the Authors Acknowledgements Index

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Book SynopsisThese 2 volume books strive to provide to our readers the most up-to-date core information available in the published literature as well as our yet to be published studies with ample illustrations (total 416) on biodegradable polymers. Much of the information used in this book is from the authors'' own research activities over the past several decades. These 2 volume books contain a compilation of new developments in the creation and use of biodegradable polymers including the relatively new polymers designed from the ground up (i.e., designing new monomers), the modification of existing biodegradable polymers to achieve particular new goals and functions, new fabrication methods for better efficiency, purity and yields, new engineering methods to formulate existing biodegradable polymers into new physical forms, and new applications of existing or new biodegradable polymers in biomedical and environmental arenas. These 2 volume books contain a total of 28 chapters grouped under 2 volumes. Volume 1 has a total of 14 chapters and 2 sections: Section I Basic degradation study and phenomenon (6 chapters), and Section II Biomedical and environmental applications (8 chapters). Volume 2 has also 14 chapters, and focuses on newly designed biodegradable polymers, and their formulation into different physical forms. The chapters in both volumes have both new original articles and information and review articles with updated and new information. Although the bulk of the chapters in this book (> 90%) deal with issues in biomedical fields which are far more challenging, demanding, and costly to resolve, two chapters deal with use of biodegradable materials for environmental impacts. The books are designed for material and polymer scientists and engineers and biomedical engineers in both universities and in industries with an interest in the biomedical field. Biomaterial scientists and engineers, biomedical engineers and even medical professionals who have used implantable polymeric-based medical devices for their practice will find these books coverage of the latest developments and challenges useful either as a comprehensive review or an up to date report of the developments in the field of biodegradable polymers. The contributors include both academic scientists and research scientists in industry, from 10 different countries in North (USA) and South America (Brazil, Argentina), Asia (China, Korea, Singapore) and Europe (Germany, Italy, Spain, Portugal). Therefore, these 2 volume books are truly internationally as well as multidisciplinary-oriented, covering science and engineering without borders.

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Book SynopsisWhat could be cuter than a woolly pompom creature? With Sachiyo Ishii's ridiculously loveable pocket-size creations, you have all the ingredients of a fabulous, fun book! There are 34 imaginative designs for animals, birds, sea creatures, bees and other insects accompanied by clear, step-by step instructions. With sections on materials, tools and basic techniques, you have all you need to get you started. Learn how to make the pompoms, attach them to each other and needle felt on features such as faces, ears, arms and legs - adding the features is where their characters really come to life! All the pompoms can be made from scraps of yarn in your stash and each design uses only small amounts. You can be up-to-the-minute with plastic pompom makers or keep it traditional with the cardboard ring technique. Sachiyo's delightful designs include a ladybird, a fox, a hummingbird, a hamster, a dolphin and a hedgehog. With beautiful photographs to show off these charming pompom creations, this is sure to delight young and old alike.Trade ReviewThis little book is fantastic. The instructions are very clear and easy to follow with words and pictures. I absolutely LOVE this little book. It is a must have and I would thoroughly recommend it to everyone. -- Mabel Newman * Customer review *This book comes with easy to follow instructions and really nice illustrations for each of the 35 creatures. The introduction carefully explains how to make the pompoms using different things, and also explains the needle felting process needed to add the features to your creations. It also tells all the items needed for the projects. A good book for both the beginner and those with experience. -- Mrs Lynne Harvey * Customer Review *This book comes with easy to follow instructions and really nice illustrations for each of the 35 creatures. The introduction carefully explains how to make the pompoms using different things, and also explains the needle felting process needed to add the features to your creations. It also tells all the items needed for the projects. A good book for both the beginner and those with experience. -- Lynne Harvey * Customer review *This book is fantastic. Easy to follow instructions to make cute little pets for everyone and anyone. I'm particularly in love with the hamster. -- Pam Hockin * Customer review *This book is great! It has very clear instructions on how to make the pompoms, and explains how to do it with different types of pompom makers. There are diagrams which clearly show how to put the wool onto the pompom maker to get the correct colour layering to create the animals, and there are little templates to show how to make ears, etc. You will need a felting needle and a couple of other felting bits to create facial features, etc, which is a new skill for me, but I am sure with a bit of creativity it would be possible to make the faces in a different way if felting felt a bit daunting, although again, very easy to follow pictures of how to create the face bits to finish off the lovely animals. Also, this is a great was to stash bust all those little left over ends of wool. With a baby on the way, I plan on making a baby mobile of little pompom animals to hang over the cot, but I am sure that younger children right through to adults would love to have a go at making these little animals. -- Lizzie Copeland * Customer review *What could be cuter than a pompom critter? A pocket-sized one, of course! Master crafter Sachiyo Ishii's irresistible collection of animals, birds, and insects will have you squealing with delight. Newbies to yarn crafts needn't fear, as there are comprehensive guides to materials, tools and techniques, including the needle-felted finishing touches. -- Make & Sew Toys * Make & Sew Toys *Pompoms are so easy and fun to make, not to mention a great way to use up your yarn stash. Choose from 35 cute pompom creatures to make, including a ladybird, fox, hummingbird, hamster, dolphin and a hedgehog, with clear, step-by-step instructions to guide you. * Crafts Beautiful *Yesterday I had the luxury of a train journey by myself and I knew exactly what I wanted to read! A few weeks ago I was gifted a copy of 35 cute pompom animals, birds, sea creatures and insects to make. I had a quick look through and couldn’t wait to try making something from one of the tutorials. Pocket Pompoms: 35 cute little woolly creatures to make Before my journey I made sure to flick through the projects and pack some basic equipment. I’ve made a few pom poms before using cardboard (the old fashioned way!) as well as a Clover pom pom maker. The book contains 35 designs for animals, birds, sea creatures, bees and other insects accompanied by clear, step-by-step instructions. With Halloween coming up I decided to make the spider, so picked up my pom pom maker, wool and scissors. I couldn’t find any black wool so substituted brown wool and picked up a small scrap of white for the eyes. I read through the Introduction and Techniques before starting. The pom pom maker was easy to use and it didn’t take long to make the spider. I removed it from the maker and gave it a little trim. Unfortunately I didn’t have any beads for eyes, nor wire for legs so I used black straws instead! My children thought it was hilarious! The book is really lovely and I love the idea of making a whole menagerie of animals with wool and a little imagination. With sections on materials, tools and basic techniques, you have all you need to get you started. Learn how to make the pompoms, attach them to each other and needle felt on features such as faces, ears, arms and legs adding the features is where their characters really come to life! All the pompoms can be made from scraps of yarn in your stash and each design uses only small amounts. Pocket Pompoms: 35 cute little woolly creatures to make by Sachiyo Ishii is published by Search Press. -- Jenny Kearney * The GingerBread House *Table of ContentsTools & Materials Techniques Monkey: step by step Dog: step by step The Projects: Fox Owl Brown bear Cat Lovebirds Teddy bear Bunny Hedgehog Koala Mouse Seal pup Pufferfish Hamster Spider Robin Sheep Panda Chicken & chicks Lion Bumblebee Ladybird Caterpillar Turtle Squirrel Dolphin Pig Duck & ducklings Hummingbird Snail Toucan Crab & hermit crab Ostrich Templates

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Book SynopsisThis fully updated edition provides a broad approach to the surface analysis of polymers being of high technological interest. Modern analytical techniques, potential applications and recent advances in instrumental apparatus are discussed. The self-consistent chapters are devoted to spectroscopic and microscopic techniques which represent powerful tools for the characterization of morphology and chemical, physical, mechanical properties of polymer surfaces, interfaces, and thin fi lms. Selection of techniques which can properly address very shallow depth of surfaces, spanning from few angstroms to tens of nanometers Interaction of polymer surfaces with their surroundings is pointed out as a critical issue for specifi c applications

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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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