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New perspectives
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Bess of Hardwick was one of the most extraordinary figures of Elizabethan England. She was born the daughter of a country squire. By the end of her long life (which a recent redating of her birth suggests was even longer than previously thought) she was the richest woman in England outside the royal family, had risen to the rank of countess and seen two of her daughters do the same, and had built one of the major ‘prodigy houses’ of the period. While married to her fourth husband, the earl of Shrewsbury, she had been gaoler to Mary, Queen of Scots, and her granddaughter by her second marriage, Lady Arbella Stuart, was of royal blood and might have been succeeded to the throne of England. This wide-ranging collection, which draws on the recent edition of her correspondence, brings out the full range of her activities and impact. It contains a biography, analysis of her language use, consideration of the roles of her servants and the management and nature of her households (including the complex and allegorical decorative scheme of Hardwick and its famous embroideries), and a new appraisal of the relationship between Bess and her granddaughter Arbella.

Brenda M. King

simplified silhouette, focused interest on the designs of textiles, helping silk maintain its popularity for certain items of clothing in the face of robust competition from cotton. The increased demand for fluid, plainly woven silks, with hand-dyed and printed rather than woven designs, accessories and lace, ribbons, braid and embroidery thread in soft tones, contributed to the demand for

in Silk and empire
Fashion, textiles, and gender in Asia in the long twentieth century

Threads of globalization: fashion, textiles, and gender in Asia in the long twentieth century represents the first collection of its kind devoted to imbrications of gender, textiles/fashion, labor, and heritage across Asia (India, Pakistan, Bangladesh, Bhutan, Cambodia, the Philippines, China, Taiwan, Japan, the diaspora) during the long twentieth century. This richly illustrated interdisciplinary volume situates the production of fashion (specific garments, motifs, materials, and methods of production) at the nexus between modernity, tradition, and identity, bringing these factors into Pan-Asian dialogue. Exploring the impact of textiles and garments on both national and local cultural identity, as well as gender identity and personal expression, Threads of globalization also investigates how garment and textile production has influenced the creative agency of women. The final section examines examples of ‘artivism’ (art + activism) that critique the often-gendered structural violence and environmental impacts of the global fashion industry. Threads of Globalization’s uniquely interdisciplinary contributors – scholars of art history, history, fashion, anthropology, and curators working across Asia – provide a fresh and timely inquiry into these intersectional topics from the late nineteenth century to today.

Ho Zhao-hua

up play a uniquely important role in the culture of Shidong Miao people. The women are renowned for their clothing, particularly their intricately embroidered jackets, which exhibit an extensive range of variety and visual styles. 12 Needlework and embroidery is not only a skill but also a representation of a woman’s cleverness, artistry, and gentle demeanor. At festivals, clad in their handsewn jackets, girls show off their ingenuity and try to attract a young man for marriage. In terms of social admiration

in Threads of globalization
Brenda M. King

The silk textiles of India were and still are, some of the most widely admired and skilfully produced in the world. Although other nations produced excellent silks, the expertise of Indian makers lay in all fields of textile production; the weaves, prints and embroideries could all attain the same extraordinarily high standard. Professional makers catered for

in Silk and empire
Susan Frye

needlework skills taught by Catherine de Medici; the reliance on a portrait artist with the skills in textiles of a tapissier; and a practised knowledge of taillure, the appliqué process by which luxurious textiles were repurposed, which Bess used to create her room-sized hangings. While Bess had long employed artisans in a number of crafts, including embroidery, the artisans who formed part of Mary’s court as portrait artists/ tapissiers would have been able to provide Bess’s workshop with the expert draughtmanship and execution along current continental models visible in

in Bess of Hardwick
mothers as agents of orthodoxy
Mary Beth Long

mending needle, knitting needles, embroidery frame, or a loom, we don’t question that Mary would rescue an archbishop from his incompetence at garment repair. Becket’s predicament underscores the gendering of male and female literacies. Becket, anxious about his undergarments, is ‘ignorant and unskilled at this work’. 3 Literacy can be measured by

in Marian maternity in late-medieval England
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Brenda M. King

Manchester, for example, currently houses magnificent and representative collections of Indian silks from the mid-nineteenth to early twentieth century. These silks were collected for specific purposes. They reflect the size and diversity of India’s handmade silk industry and are testimony to a wide range of traditional and complex weaving, printing, dyeing and embroidery skills. What then was their

in Silk and empire
The story of phulkari textiles in The Singh Twins’s Slaves of Fashion
Cristin McKnight Sethi

Slaves of Fashion series, titled Phulkari: Craft and Conflict , which directly references a vernacular form of embroidery with historical roots in pre-Partition Punjab and continues to be an iconic art form in both the Punjab province in Pakistan and the state of Punjab in India ( Figure 10.7 ). I first encountered this portrait-panel in its tapestry form, as a soft, woven textile, in the home of a private collector – it was not a digital lightbox nor was it displayed alongside other portrait-panels in a gallery. This

in Threads of globalization
Subversive practices from écriture féminine to soft art
Rakhee Balaram

art made by women within and outside the male-dominated tendances such as Nouvelle Figuration and Supports-Surfaces, while also taking into account the focus on corporeality in art made by women. Trends such as écriture féminine will be examined in light of avant-garde practices in writing and authorship while ‘soft art’, or the use of materials such as embroidery, knitting, weaving and other soft materials, will be looked at in relation to ‘hard’ contemporary institutional policies and politics and the conscious insertion of women's ‘traditional’ forms of art

in Counterpractice