#Heritage textiles

[googlystan]

Traditional Curtains by Tulio Design

[frontierraasmarket]

How to Wear Party Dresses like Your Favorite Celebrity | Frontier Raas

Imagine the thrill of stepping into a party, adorned in an outfit that mirrors the glamorous style of your beloved Bollywood icons. It’s an exhilarating thought, isn’t it? At Frontier Raas, we bring you an exquisite celebrity wear collection that perfectly captures the essence of Bollywood’s most iconic looks. From mesmerizing Trail gown dresses to chic chequered designer lehenga sets and…

[histsciart]

Beautiful Butterflies

SciArt by Emile-Allain Séguy for his Papillons (1925).

Séguy was inspired by nature to design decorative patterns meant for textiles and wallpapers.

Séguy's Papillons (1925) is part of the Public Domain, which means that these illustrations may be reused for any purpose. As an example, I used the lower pattern of this illustration to create my website's header.

View more in Biodiversity Heritage Library with thanks to Smithsonian Libraries and Archives (@smithsonianlibraries) for digitizing.

[oakappleday]

I read that the fabric trim on this outfit was designed by students of the Samoa School of Fine Arts, but I can't find anything about an institution of that name... I think maybe the royal reporters were thinking of the Leulumoega School of Fine Arts and Museum (which also sadly doesn't have much of a web presence), but unfortunately I'm not certain

[fashionbooksmilano]

Africa in Fashion

Luxury, Craft and Textile Heritage

Ken Kweku Nimo, Foreword by Deola Sagoe

Lawrence King, London 2022, 200 pages, 19x26cm, ISBN 978 1913 94 7958

euro 46,00

email if you want to buy booksinprogressmilano@yahoo.it

Africa in Fashion explores the kaleidoscope of craft cultures that have shaped African fashion for centuries and captures the intriguing stories of contemporary and avant-garde African brands. Part One looks at Africa's rich cultural heritage and place in the network of global fashion. The first chapter retells the history of African fashion, exploring Africa's textile traditions, artisanship and role as a global resource. The second chapter presents a New Africa and examines the promise and potential of Africa's markets, while challenging stereotypes and the concept of European hegemony particularly in the realm of luxury fashion. It also spotlights Africa's unique position as the global industry shifts towards a more sustainable future. Part Two ushers the reader into the spectacular world of African fashion today. It showcases a carefully curated set of the continent's most dynamic brands and, through interviews with prominent and inspiring designers, offers rare insight into their ethos and design practice. Covering unisex fashion, menswear, womenswear, accessories and jewelry the brands are each purposefully selected to contribute uniquely to the mosaic of Africa evolving creative landscape.

10/06/24

[rumade]

Why England’s Last Traditional Lacemaker Is Fighting for Survival

This video made me so sad. The tories killed British manufacturing twice- once in the 80s with Thatcher, and then again with the austerity cuts to the Crafts Council. Small scale heritage makers have been left to rot. We talk about "levelling up", well why not work on these heritage crafts again? Tourists visit chocolate factories in Switzerland, and indigo dyers in Japan. They could visit lace makers in Nottingham.

[koenji]

Handwoven Yemenite Jewish prayer shawl, Southern Yemen, Early 20th century. 275 x 102 cm. Gift of Yihya Ovadya Gibli, Jaffa.

"In Yemen, the biblical commandment (Num. 15:38–39; Deut. 22:12) to attach tassels (tzitzit) to the four corners of one’s garment is fulfilled by attaching tzitzit to the four-cornered outer garment worn daily; in other communities, where daily attire is not four-cornered, special ritual garments—the prayer shawl (tallit) and the vest-like tallit katan—have come to be used for this purpose.

The Jews of Yemen wore several types of four-cornered garments to fulfill the tzitzit precept. In Sana'a and on the Central Plateau, an everyday black woolen shawl worn over the shoulders served as a tallit. This type of shawl was an integral part of the Jewish male’s dress in the region, and the indicative offwhite ritual tassels hung from its four corners. A more precious version made of highly refined black wool was worn in this region on the Sabbath.

The garment’s Yemeni Arabic name shamleh recalls the Hebrew word simlah, used in the Bible. Both words carry the idea of a wrapped outer garment that envelops the wearer, as does the tallit when worn during prayers. As a four-cornered garment, the shamleh was subject to the commandment to bear tzitzit, and wearing it allowed one to fulfill the commandment with an article of clothing that served daily functions. In addition to being an article of clothing, it served as a blanket when resting, or a bag for bundling and carrying goods.

In rural Yemen, all men, Muslims and Jews, slung a striped, brightly colored cotton shoulder-cloth around their upper body called a lih feh or masnaf, edged with a woven band and fringes. On the four corners Jews added the ritual tassels, identifying themselves as Jews.

In southern Yemen, the tallitot were woven in color schemes of green, red, and yellow on an off-white background. These were the standard outer garment in this region, either rectangular in shape, or poncho-like with a hole or slit in the middle for the head, similar to the tallit katan (a small, four-cornered garment worn to enable one to fulfill the tzitzit commandment if one’s regular outer garment was not four-cornered). Silk squares were sewn on to reinforce the four corners where the tassels were fixed.

Skilled Jewish weavers made these garments. Among Yemeni Jews, weaving was a widely practiced and highly respected profession, one that was considered to require special skills. In the poncho-like tallit, the edges around the head and neck opening were embroidered with stitches typical of the area. At the turn of the twentieth century, the Ashkenazi white rectangular tallit with its blue or black stripes along the shorter, fringed hems, called shal in Yemen, frequently replaced the traditional Yemenite prayer shawls." x

[justalittlesolarpunk]

Learning to weave from my grandmother this week. Older generations hold so much wisdom we can tap into to build a more solarpunk world. I really enjoyed using the loom and I hope I have my own one day, and that I can make clothes for myself and other people if my dyspraxia plays ball. This was only my first try though so I’ve got a long way to go!

[ninithelgames]

...and all done and mounted!

[thunderheadfred]

IKEA is just targeting me, personally, at this point

Swedish Accent: Dear Fred we heard you are pregnant with a baby and your baby room will be green and also that you love little weënir døgs in little sweaters please come back and buy another kitchen from us we love you FReeEEeEDDdddDD

(DRÖMSLOTT series baby stuff)

[thepastisalreadywritten]

Lacemaking

In the early 20th century, Brittany in France remained one of the few European regions where traditional lacemaking still thrived.

The photograph of three lacemakers from around 1920 offers a glimpse into a craft steeped in centuries of tradition and artistry.

Lacemaking had been a cornerstone of European textile art since its emergence in the 16th century, captivating royalty and the elite with its intricate patterns and delicate beauty.

Lacemaking likely originated in Italy or Flanders in the early 1500s, spreading rapidly across Europe.

France quickly became a leader in the craft, particularly through regions like Valenciennes and Alençon, which produced some of the finest lace in history.

Alençon lace, often called the “Queen of Lace,” was so renowned that it earned a place on UNESCO’s Intangible Cultural Heritage list.

Lacemaking in Brittany, while less famous, was deeply rooted in local culture. It provided economic opportunities for women, who often worked from home or in small groups, weaving threads into beautiful designs.

The process was labor-intensive, requiring immense skill and patience. Lacemakers used tools like bobbins, pins, and pillows to create intricate patterns.

A single piece of lace could take weeks or even months to complete, depending on its complexity.

The demand for lace surged during the 17th and 18th centuries, with pieces adorning everything from clothing to home furnishings.

This painstaking effort made lace a luxury item, reserved for aristocrats and the wealthy.

By the 19th century, however, industrialization brought significant changes.

The invention of the lace-making machine in Nottingham, England, revolutionized production, making lace more accessible but diminishing the demand for hand-crafted pieces.

Despite this, regions like Brittany preserved their traditions, maintaining lacemaking as both an art form and a cultural heritage.

Today, the legacy of these artisans is celebrated in museums and cultural festivals, reminding us of their enduring contribution to textile history.

[andromedasummer]

just learned there are such things as craft holidays/tours. i am ENAMOURED

[frontierraasmarket]

Threads of Love: Celebrate This Mother’s Day with Special Handloom Sarees

As Mother’s Day approaches, it’s the perfect time to celebrate the special bond between mothers and daughters, a bond woven with threads of love and affection. And what better way to honor this bond than by gifting your mother a beautiful handloom saree? Handloom sarees are not just garments; they are a symbol of tradition, heritage, and craftsmanship. In this guide, we’ll explore why handloom…

[mybtextiles]

You learn something new everyday- The shuttles in the lace looms that carry the polyester yarn are different thicknesses, depending on the loom. The 14pt quality (14 vertical threads per inch) shuttle is much thinner than the 8pt quality (8 vertical threads per inch) shuttle. You can see here the difference in thicknesses. There are roughly 5050 shuttles in the 14point loom and 3456 in the 8point loom. How interesting is that! 🧵#laceloom #history #heritage #scottishtextiles #scottishfabric #mybtextiles #textiles #shuttles #yarn #loom #100yearsold #mill #factory (at Morton Young & Borland) https://www.instagram.com/p/CqDpaBnq3MG/?igshid=NGJjMDIxMWI=

[oakappleday]

The new tartan, announced as the King celebrates his 76th birthday, will be used for furnishings and staff uniforms at Balmoral and on a limited range of products that will be available to the public at Balmoral Castle next year. John McLeish, chairman of the Scottish Tartans Authority, said: “His Majesty The King continues to be a wonderful ambassador and advocate for tartan, Highland dress, and the traditions of the Highlands. “The Balmoral Glen Gelder tartan has been created using the specific shades from His Majesty’s personal tartan. “This will allow others to enjoy the lovely soft hues so admired by the King and which make 18th century tartan patterns so sympathetic to the eye.” The pattern of the new design is based on a unique piece of rural Highland tartan discovered in Glen Affric and now in the collection of authority. Dating from around 1500 to 1600 AD, it is the oldest surviving specimen of true tartan found in Scotland, the authority said. The Balmoral Glen Gelder design is said to provide a link to cloth that most likely originated in the reign of James V, Mary Queen of Scots or, possibly, James VI and I.

[y2ztravel]

Wake up to the beauty of Bangladesh! 🇧🇩 From breathtaking sunsets to rich cultural heritage, this country is a true gem in South Asia. 💎 The best time to visit is from October to March, when the weather is pleasant and perfect for exploring. 🗓️ Discover the must-visit places in Bangladesh, including the historic Lalbagh Fort, the stunning Cox's Bazar beach, and the beautiful tea gardens in Sylhet. 🏰 Immerse yourself in the local culture and take a stroll through the bustling streets of Dhaka. 💃 Don't forget to take home some souvenirs, like traditional hand-woven textiles, tea, and delicious sweets. 🎁

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