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The Wagga Quilt In History And Literature, Diana Mary Eva Thomas
The Wagga Quilt In History And Literature, Diana Mary Eva Thomas
Textile Society of America Symposium Proceedings
The Wagga quilt fits squarely into the Australian tradition of ‘making do.’ These quilts were constructed from recycled materials that were available at the time-for the shearer or drover that was wheat sacks, for the poor family on the land it was clothing that could no longer be worn because it was too threadbare, for Depression-era women it was the samples that tailors or fabric salesmen no longer needed. But Waggas are not only the products of hardship on the land. Many of the surviving quilts were used in homes in reginal towns or the suburbs or large cities such …
The Lévite Dress: Untangling The Cultural Influences Of Eighteenth-Century French Fashion, Kendra Van Cleave
The Lévite Dress: Untangling The Cultural Influences Of Eighteenth-Century French Fashion, Kendra Van Cleave
Textile Society of America Symposium Proceedings
During the final decades of the eighteenth century, France saw a massive vogue for women’s clothing styles that, while adhering to the fundamental norms of French dress, were directly influenced by Ottoman clothing. One of the most popular of these was the levite, a dress that was introduced in the late 1770s and continued in popularity through the late 1780s. Inspired by costumes worn in a staging of Racine’s play “Athalie,” which is set in the ancient Biblical era, the levite initially mimicked the lines of Middle Eastern caftans. Over time, the style developed into at least three different variations, …
Mashru Redux: From The Calico Museum In Ahmedabad To A Loom In The Great Plains, Wendy R. Weiss
Mashru Redux: From The Calico Museum In Ahmedabad To A Loom In The Great Plains, Wendy R. Weiss
Textile Society of America Symposium Proceedings
A zigzag line of resist dye characterizes a fabric called Mashru. It was produced in several different geographic locations; however, this paper discusses examples from India and my efforts to reconstruct patterns that have not been actively produced in this century. The Calico Museum in Ahmedabad is the first place I saw this style of warp resist fabric. The literature says that it was produced for Muslim clients who were not allowed to wear silk next to their skin. The word “Mashru” means “permitted” in Arabic and its Sanskrit variation “Misru” means “mixed.” A mashru fabric historically has a silk …
Cottage Industry As Social Practice: Sustainability Of Handweaving In The Post-Industrialist Era, Maggie Leininger
Cottage Industry As Social Practice: Sustainability Of Handweaving In The Post-Industrialist Era, Maggie Leininger
Textile Society of America Symposium Proceedings
India to Appalachia: How Cottage Industries Preserve Textile Heritage examines the role of the hand weaver and the cottage industry from India to the American Craft Revival in promoting cultural identity through textiles. The migratory nature of textile production both in the pre-and post-industrial practices has long challenged the notion of a pure textile heritage for any culture. However, with the almost simultaneous appearance of Khadi production in India and the American Craft Revival of Appalachia, the allure of the homespun as a cultural asset became a mechanism to offset the impact of textile industrialization. As urban centers increased in …
The Deep Origins Of Kashmir Shawls, Their Broad Dissemination And Changing Meaning. Or Unraveling The Origins And History Of A Unique Cashmere Shawl, Joan Hart
Textile Society of America Symposium Proceedings
Emulation is constant in all forms of art. Debates have arisen regarding the nature of this imitation by Europeans of indigenous Kashmir shawls. The intrinsic Kashmiri aspect was the weave itself: nowhere else was a double interlock tapestry twill technique used. The unique fabric originated in Tibet: pashmina from the underbelly of the mountain goat. The shawl was strong, lightweight, and warm. The earliest Kashmir shawls were simple in design: the double long shawls and moon shawls. The earliest shawls had simple motifs, single floral blooms. By the end of the eighteenth century, this motif was compounded to many blooms …
Common Sense & Pin Money: The Material Culture And Legacy Of Lula Annie Butler 1909-2009, Robin Michel Caudell
Common Sense & Pin Money: The Material Culture And Legacy Of Lula Annie Butler 1909-2009, Robin Michel Caudell
Textile Society of America Symposium Proceedings
“Common Sense and Pin Money: The Material Culture and Legacy of Lula Annie Butler 1909-2009” examines local/global contexts of the late Mrs. Butler’s found quilts, her “make do” ethos, which made a way out of no way decades before recycle, re-purpose and green were hash tags. A lifelong Preston, Maryland resident and domestic worker, Mrs. Butler’s household was outfitted with quilts, tablecloths, aprons, pillows, and shopping bags she created from fabric-sample books and fabric remnants obtained from the late Mrs. Sarah Covey, her longest employer, who operated a drapery and upholstery business in Federalsburg, Maryland. Mrs. Butler’s artistic impulse-vibrant, improvisational, …
Yours, Mine & Ours: Beyond Appropriation, Suzi Ballenger, Charlotte Hamlin
Yours, Mine & Ours: Beyond Appropriation, Suzi Ballenger, Charlotte Hamlin
Textile Society of America Symposium Proceedings
As textile makers and researchers, we value the indigenous cultural wealth represented in the extraordinary array of textiles available to us through current worldwide channels. For millennia, textiles have been an effective vehicle for cultural intersection and exchange; traditions, materials, motifs, techniques, words, and beliefs are adopted, extended, and enriched by the meeting of peoples. Increasingly-and particularly with the advent of “fast fashion”-textile styles and motifs are being widely appreciated, and subsequently appropriated, without acknowledgement or compensation to the culture from which they derived. Is it possible to create productive collaboration across cultures without exhausting or dispossessing the custodians of …
Abstracts Of Papers: Textile Society Of America 16th Biennial Symposium
Abstracts Of Papers: Textile Society Of America 16th Biennial Symposium
Textile Society of America Symposium Proceedings
Abstracts of 175 papers:
Monisha Ahmed — The Kashmir / Cashmere Shawl – Tradition and Transformation
Philis Alvic — Eliza Calvert Hall, The Handwoven Coverlet Book, and Collecting Coverlet Patterns in Early Twentieth Century Appalachia
Sarah Amarica — Global Threads: Histories of Labour and Cloth in Ann Hamilton and Ibrahim Mahama’s Installation Art
Lynne Anderson — Schoolgirl Embroideries: Integrating Indigenous Motifs, Materials, and Text
Jennifer Angus — Education through Co-Design
Margaret Olugbemisola Areo and Adebowale Biodun Areo — Egungun: Concept, Content and the Dynamic Contextual Manifestations of Yoruba Ancestors Masquerade
Alison Ariss — Wrapped in Wool: Coast Salish wool weaving, …