Textiles Research Papers - Academia.edu (original) (raw)

Adopting the format of an edited and annotated conversation, Danish researcher and designer Rosa Tolnov Clausen, American artist and professor Marianne Fairbanks and British writer and professor Jessica Hemmings discuss some of the... more

Adopting the format of an edited and annotated conversation, Danish researcher and designer Rosa Tolnov Clausen, American artist and professor Marianne Fairbanks and British writer and professor Jessica Hemmings discuss some of the circumstances in which community hand weaving projects may flourish. Decisions around the types of space Clausen's Weaving Kiosk (2017-ongoing) and Fairbanks's Weaving Lab (2016-ongoing) have occupied, how hand weaving may be made portable, the impact of duration and responsibility toward the material, as well as social, outcomes are discussed. While our conversation tries to understand what is shared by the Kiosk and Lab, we also acknowledge where different cultural and historical contexts cause the potential and challenges of these two initiatives to differ. The Weaving Kiosk and Weaving Lab are not intended as performances, but instead place emphasis on how hand weaving may build social connections. The format of this article foregrounds the conversational nature of social hand weaving and hopefully offers inspiration to others interested in expanding the purpose of contemporary hand weaving and textile scholarship.

Early modern India was an economic core region producing manifold textiles for export. During the sixteenth century a new customer entered the stage and expanded its influence from the city of Goa – Portugal. From early times, the... more

Early modern India was an economic core region producing manifold textiles for export. During the sixteenth century a new customer entered the stage and expanded its influence from the city of Goa – Portugal. From early times, the Portuguese had bought and commissioned textiles, among them large embroideries from Bengal and Gujarat, which are the focus of this study. By providing European prints as models for the professional local embroiderers they created a novel product that was successful in Portugal and beyond throughout the seventeenth century. The textiles were deemed valuable and rare enough to be included in different travel accounts, letters and inventories, enabling us to trace their place of production, their transportation to Europe and their reception. Their intricate iconographies reflect political problematics of the time and shed light onto the intercultural circumstances of Portuguese colonial life. Barbara Karl is Curator of Textiles and Carpets at the MAK – Museum für Angewandte Kunst/Gegenwartskunst in Vienna. WEITERE INFORMATIONEN UND DOWNLOADS FINDEN SIE UNTER WWW.BOEHLAU-VERLAG.COM. böhlau verlag ges.m.b.h. & co. kg, wiesingerstrasse 1, 1010 wien, österreich, t: + 43 1 330 24 27-0, f: + 43 1 330 24 32-77 info@boehlau-verlag.com, www.boehlau-verlag.com | wien köln weimar

In Textile Terms: A Glossary, ed. Anika Reineke, Anne Röhl, Mateusz Kapustka, and Tristan Weddigen. Textile Studies 9. Berlin: Edition Imorde/Gebr. Mann Verlag, 2017.

Debates over copyright and craft are particularly thorny, jumping as they do from notions of a common shared history of quilting bees and knitting circles that should be open and welcoming to all, passing through the idea that as an... more

In 1988, three laboratories performed a radiocarbon analysis of the Turin Shroud. The results, which were centralized by the British Museum and published in Nature in 1989, provided ‘conclusive evidence’ of the medieval origin of the... more

In 1988, three laboratories performed a radiocarbon analysis of the Turin Shroud. The results, which were centralized by the British Museum and published in Nature in 1989, provided ‘conclusive evidence’ of the medieval origin of the artefact. However, the raw data were never released by the institutions. In 2017, in response to a legal request, all raw data kept by the British Museum were made accessible. A statistical analysis of the Nature article and the raw data strongly suggests that homogeneity is lacking in the data and that the procedure should be reconsidered.

A RICHLY FURNISHED grave from the migration period in Norway is our starting point for a discussion of the impact of dress in life and death. The Sande farm is situated on the southern tip of Norway on the Lista peninsula, an area... more

A RICHLY FURNISHED grave from the migration period in Norway is our starting point for a discussion of the impact of dress in life and death. The Sande farm is situated on the southern tip of Norway on the Lista peninsula, an area renowned for its many rich finds from the migration period. A high-status grave from Sande in Vest-Agder was excavated in 2005 and was found to be lavishly equipped, not least in terms of jewellery items and dress fittings. Some remarkable textile remains were also preserved. The types of adornment and their position in the grave strongly suggest this was the burial of a woman, while the jewellery and textiles and their composition, style and appearance, all offer valuable information on the story of the individual and the dress code of the time. This article offers the first detailed exploration of this burial and its assemblage, and an in-depth discussion of the surviving textile fragments and dress equipment as evidence of a form of dress and display that may have operated in life and death.

Clothes are not only made to protect against the cold, sun, or rain, but also to have an impact on the wearer, provide information and create moods. They are experienced both sensually by the person wearing them and visually by the... more

Clothes are not only made to protect against the cold, sun, or rain, but also to have an impact on the wearer, provide information and create moods. They are experienced both sensually by the person wearing them
and visually by the audience and since clothing can also be used to alter body shapes, it becomes an object of art.
When worn on the human body, clothing serves as a medium of non-verbal communication and as such can be used to demonstrate cultural, social and individual identities. Strategies for communication via dress exist in all parts of the world, and these systems vary not only geographically but also through time. The task of tailoring as a profession is to create garments which cover both these personal and social demands. This paper is based on observations and considerations that were made during the reconstruction of Bronze Age garments by using experimental archaeology methods.

Documentation of the presence and purpose of cloth as metaphor, structure and object in Yvonne Vera's fiction illuminates the innovations present in the author's published fiction. Vera's confrontation of the often silenced experiences of... more

Documentation of the presence and purpose of cloth as metaphor, structure and object in Yvonne Vera's fiction illuminates the innovations present in the author's published fiction. Vera's confrontation of the often silenced experiences of rape, incest, abortion and infanticide explain the author's commitment to the exploration of alternative narrative strategies. The structure of the thesis finds inspiration in the embroidery sampler, a piece of stitched cloth onto which many different styles of stitches are tested but is nonetheless whole. In this research the production and consumption of cloth is understood to represent a domestic graphology, a term coined by Vera in her own Ph.D. which refers to communication that goes unnoticed by conventional discourse because of the domestic and therefore seemingly inconsequential materials appropriated to convey information. After contextualizing Vera's fiction through brief comparisons to Dambudzo Marechera, Tsitsi Dangarembga and Chenjerai Hove, research turns to the skin and hair of characters and observes that it is treated much like cloth in order to expose the extent of alienation caused by racism. The inverse of this idea, the notion that clothing is in fact a "second skin" reveals the economic hardships of Vera's settings and the hopeless optimism offered by the opportunity to purchase or exchange' one skin for another. Characters relate to the spaces they inhabit with a fragmented sense of the world around them. This fragmentation can be understood through Gilles Deleuze and Felix Guattari's notion of smooth space (felted cloth) and striated space (woven cloth) and is helpful in understanding the extent of the damage caused by mental and physical pain. Finally Vera's texts contain fragments of an unassembled quilt which rejects the possibility of repair due to the nature of the crimes recorded upon the various remnants of cloth scattered throughout the texts. Apparent throughout Vera's fiction is a theme of empowering violence which results in a systematic rejection of motherhood for her female characters. Motherhood as a creative act is replaced by a heightened awareness of the creative value of cloth. Throughout the texts, textiles assist in the process of exposure, mourning, and recovery from the damning experiences Vera's characters endure.

Analysing textiles from Hallstatt in Austria always involves studying the whole chaîne opératoire. Due to their excellent preservation in the salt mine it is worth considering how the items were produced as well as the end point of the... more

Analysing textiles from Hallstatt in Austria always involves studying the whole chaîne opératoire. Due to their excellent preservation in the salt mine it is worth considering how the items were produced as well as the end point of the chaîne opératoire, the use, recycling and discarding. Additionally, the fi ndspot, Hallstatt, off ers insights into an interesting period for the development of textile crafts in prehistoric Europe: in the second and fi rst millennium BC many inventions and innovations fl ourished across Europe and transformed the textile world.

Hallstatt offers a unique situation for textile research: a major collection of textile finds, representing the period from the 16th to the 4th centuries BC, can be used to reflect the development of Central European textile expertise.... more

Hallstatt offers a unique situation for textile research: a major collection of textile finds, representing the period from the 16th to the 4th centuries BC, can be used to reflect the development of Central European textile expertise. Excellent preservation allows for the Chaîne opératoire, complete with manufacturing processes and secondary uses, to be charted

Textile from Georgia is an impressive and ambitious research project which aimed to investigate the long history of Georgian textiles, to resurrect forgotten craft techniques, and to transmit knowledge of these techniques to contemporary... more

Textile from Georgia is an impressive and ambitious research project which aimed to investigate the long history of Georgian textiles, to resurrect forgotten craft techniques, and to transmit knowledge of these techniques to contemporary society.

Research on the Old Uyghur secular documents has become an ever more important branch of Old Turkic studies, and many relevant publications have seen the light of day. The manuscripts provide a glimpse into the daily life and material... more

Research on the Old Uyghur secular documents has become an ever more important branch of Old Turkic studies, and many relevant publications have seen the light of day. The manuscripts provide a glimpse into the
daily life and material culture of the Uyghurs. However, the terminology of some areas of life still needs in-depth investigations. Especially in the semantic field of textiles and clothing several lexical items are still unexplained. The present article identifies one such item, kükü, as a designation of the high embroidered headdress of married Mongol women, adopted from Chinese gugu.

In the Middle Ages, elite women acted as creators, donors and recipients of textile art. This article analyses a small but representative group of seventh- to thirteenth-century embroideries in order to examine the motivation for their... more

In the Middle Ages, elite women acted as creators, donors and
recipients of textile art. This article analyses a small but
representative group of seventh- to thirteenth-century embroideries
in order to examine the motivation for their creation and to
investigate the ways in which women could mark their own
presence through textile art. It discusses written sources alongside
the material evidence; these sources include documentary,
hagiographical and literary texts, which provide information about
cultural norms and the expectations of society. Set within the
context of these sources, the evidence suggests that society both
channelled women’s creativity into textile art and idealised it. At
the same time, as artists and patrons of ornamented textiles,
noblewomen had creative control over the medium; embroidery
became a field in which their works were noted and celebrated.

Penultimate proofs The twelfth to fourteenth centuries marked a period of cross-continental exchange on an unprecedented scale between East, Central, and West Asia. Textiles woven with script or script-like elements shed some light on... more

Penultimate proofs
The twelfth to fourteenth centuries marked a period of cross-continental
exchange on an unprecedented scale between East, Central,
and West Asia. Textiles woven with script or script-like elements
shed some light on this cross-continental movement, as inscribed
textiles were produced across Asia. These woven inscriptions, likely
derived from the West Asian tradition of ṭirāz and connected to
practices of honorific robing, appear in both pseudo and readable
scripts. Their appearance in East Asia hints at the semiotic significance
ṭirāz-style inscriptions had, even outside the Islamic world.
The trend of employing foreign scripts as a decorative motif on
robes appears to have reached its apex during the Mongol period
(ca. 1206–1368). However, evidence for such decoration has been
unearthed from the centuries prior to the Mongol conquests as well.
Tracing the routes that inscribed textiles took across the continent
reveals the kinds of cultural, political, and technological exchange
occurring throughout Asia during these 300 years.

The aim of this study is to collect evidence for textile recycling from a prehistoric and historic perspective. The basis are original textile finds and not, as might be expected, written or pictorial sources. The material presented here... more

The aim of this study is to collect evidence for textile recycling from a prehistoric and historic perspective. The basis are original textile finds and not, as might be expected, written or pictorial sources. The material presented here focuses on archaeological finds, especially on prehistoric to early medieval evidence from Central Europe, also mentioning some interesting examples from medieval and Early Modern times.
This is not a comprehensive study of all possible secondary uses of textiles, but it shall demonstrate different interesting case studies such as re-use and recycling of garments with examples from Bronze Age till early modern period. We also learn from Early Medieval evidence that textile rags have been employed for production processes e.g. of ceramic vessels, clay figurines or for thin bronze objects. In the salt-mines Hallstatt and Dürrnberg in Austria, hundreds of textile scraps have been found, left back in the mines after secondary use as make-shift binding material or sanitary items.
Worn-out textiles were used for caulking wooden ships, as sealing for water-management in prehistoric copper mines and as insulation material for medieval castles. At least, textile scraps also ended in medieval and early modern latrinae – after they have been used as “toilet-paper”. The evidence collected demonstrates a careful resource-management.

Wind tunnel testing has been carried out on nine-knitted single jersey fabrics (100% polyester) using cylinder and leg models to determine its aerodynamic behaviour over a range of speeds (20–80 km/h) representative of sports activities.... more

Wind tunnel testing has been carried out on nine-knitted single jersey fabrics (100% polyester) using cylinder and leg models to determine its aerodynamic behaviour over a range of speeds (20–80 km/h) representative of sports activities. Strong correlation between fabric manufacturing (cover factor) and fabric roughness and aerodynamic parameters has been established. Similar aerodynamic behaviour of fabrics was observed when tested on

Review of T'ai Smith's Bauhaus Weaving Theory in The Journal of Modern Craft.

In the 1950s, the Museu Paulista (MP) of the University of São Paulo (USP) and the American Museum of Natural History (AMNH) exchanged ethnographic materials. At the time, the Brazilian museum donated more than 300 objects made by... more

In the 1950s, the Museu Paulista (MP) of the University of São Paulo (USP) and the American Museum of Natural History (AMNH) exchanged ethnographic materials. At the time, the Brazilian museum donated more than 300 objects made by Brazilian indigenous groups and in return received objects from various groups such as Apache, Najavo, Zuni, Hopi, Tlingit among other cultures. This collection was transferred in 1989 to the Museum of Archeology and Ethnology (MAE) of the same university, and consists of objects that range from accessories, clothing to an extensive miscellany of objects. In this presentation we will highlight the work accomplished with 10 objects of clothing of this collection. These pieces were chosen before the others due to the precarious state of conservation to which they were presented. Many objects were wrapped without an internal support and this caused distortions in many of them. Besides the aesthetic effect, the distortions in leather objects also caused the breaking of threads that supported beads, thus causing areas with large losses of matter. Since the packaging was not suitable, materials such as leathers and beads of objects such as bags and loafers were covered with persistent dirt. Coupled with the risks associated with poor packaging and the layers of dirt that have covered these objects for years, we also detect dissociation. The sparse information that documented the exchange between museums in the 1950s did not detail the cultural groups of their origins; in addition, much information was mistranslated over the years, which led to misunderstandings in the identification of the material. To solve the problems encountered, tests were made for identification of materials and color resistance, then proceed to the next stages of the treatments, such as aspiration, mechanical and wet cleaning, humidification and reshaping and the production of specific packaging supports for each piece through moulage or draping and flat pattern drafting techniques. In order to remedy the risk of dissociation, bibliographic and museum database searches were carried out for searches of similar pieces to those studied, and their due documentation. Finally, it was decided to analyze several points of the objects through the techniques of Energy dispersive X-ray Fluorescence spectroscopy (ED-XRF) and Fourier-transform infrared spectroscopy (FTIR), in order to investigate the detected differences in the pieces after the preventive conservation and what the consequences that this information may have.

Over 30 years, the design of ornaments on karawo textiles in Gorontalo-Indonesia is only done by one self-taught designer, without regeneration. This is allegedly because the design process is considered to be done intuitively, so that... more

Over 30 years, the design of ornaments on karawo textiles in Gorontalo-Indonesia is only done by one self-taught designer, without regeneration. This is allegedly because the design process is considered to be done intuitively, so that cannot be learned by others. This study aims to explore the process of designing the ornaments to be systematically understandable by others. Data were collected through observations, interviews, and review of design results. They were analyzed interactively during and after data collection. The results show that the process of creating the design is complex, but systematically done through five steps: 1) identifying the concept from users; 2) exploring the specific products for appropriate design; 3) selecting objects for appropriate motives; 4) articulating the design; 5) evaluating the overall design. These five steps are considered as method of designing ornaments on karawo textiles, which can be applied by anyone who has good interpretation to cr...

Most wild and semi-wild species of the genus Gossypium are exhibit photoperiod-sensitive flowering. The wild germplasm cotton is a valuable source of genes for genetic improvement of modern cotton cultivars. A bi-parental cotton... more

Most wild and semi-wild species of the genus Gossypium are exhibit photoperiod-sensitive flowering. The wild germplasm cotton is a valuable source of genes for genetic improvement of modern cotton cultivars. A bi-parental cotton population segregating for photoperiodic flowering was developed by crossing a photoperiod insensitive irradiation mutant line with its pre-mutagenesis photoperiodic wild-type G. darwinii Watt genotype. Individuals from the F2 and F3 generations were grown with their parental lines and F1 hybrid progeny in the long day and short night summer condition (natural day-length) of Uzbekistan to evaluate photoperiod sensitivity, i.e., flowering-time during the seasons 2008-2009. Through genotyping the individuals of this bi-parental population segregating for flowering-time, linkage maps were constructed using 212 simple-sequence repeat (SSR) and three cleaved amplified polymorphic sequence (CAPS) markers. Six QTLs directly associated with flowering-time and photop...

When I tell friends and family that I make art about witches, no one seems surprised. As a child, I was obsessed with fantasy and magic, going out into the woods behind my house to look for evidence of unicorns, fairies, and dragons.... more

When I tell friends and family that I make art about witches, no one seems surprised. As a child, I was obsessed with fantasy and magic, going out into the woods behind my house to look for evidence of unicorns, fairies, and dragons. I\\u27m reasonably sure I never found any, but that love has stayed with me to this day and is the most significant influence in my art. A second, but no less significant influence on my art is my fascination with history. My grandfather is a huge fan of the History Channel, and would frequently watch it in the evenings when I was young. I would sit with him and learn about the rise and fall of the Roman Empire; about the struggles of Boudicca and the Iceni people of the British Isles; about Ghengis Khan and Alexander the Great; and about the Malleus Maleficarum, and the 50,000 people burned to death because of it. As a young teenager, I dipped my toes into both the textile and digital arts. Digital, because I couldn’t not experiment with it, having grow...