TEXTILE HISTORY最新文献

{"title":"Steven Toms, Financing Cotton: British Industrial Growth and Decline, 1780–2000","authors":"Pat Hudson","doi":"10.1080/00404969.2021.1948190","DOIUrl":"https://doi.org/10.1080/00404969.2021.1948190","url":null,"abstract":"practice, focusing upon Gaudiya Vaishnava imagery. For her, the visual stories of Krishna, the repetition of other motifs, and the rhythm of stitching combined to provide spiritual renewal and affirm her place in the spiritual world, apart from the earthly realm. While the case studies provide the specifics about kantha as the product of women’s voices otherwise silent in the written record, Ghosh throughout the volume pays attention to kantha not simply as a stable aesthetic work of art subject to formal analysis, as did Stella Kramrisch, but rather as a living entity that embodies intimacy across time and generations through realisation, use, maintenance and gifting. Attentive to the evidence of touch, smell, staining, fading and darning, Ghosh engages with kanthas as ‘textile transmissions’ (p. 64) that embody and shape a multi-generational investment. The physical evidence also evokes the many different functions these textiles provided, from warmth to an altar for puja. Finally, the care and attention to their cleaning, drying in the sun and storage in the off-season all speak to their enduring value. Ghosh’s fieldwork not only in Bengal but throughout different Bengali expatriate communities further underscores their continued value in linking generations across space. Although Ghosh’s volume is an important contribution to South Asian material culture, it should also be required reading for textile historians. It follows Linda Baumgarten’s lead in emphasising the importance of maintenance and refashioning, and quilting scholarship’s interest in textiles as important lenses into women’s worlds. Listening to the voices of the embroiderers as found in the physical evidence of kantha, Ghosh has written a powerful volume that documents the creation of memory through the making, use and care of a very specific textile.","PeriodicalId":43311,"journal":{"name":"TEXTILE HISTORY","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2021-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44055892","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Check Shirts, Flannel Jackets, Canvas Trousers: The Trade in Slops from Eighteenth-Century Liverpool","authors":"M. Lambert","doi":"10.1080/00404969.2021.1938794","DOIUrl":"https://doi.org/10.1080/00404969.2021.1938794","url":null,"abstract":"This paper seeks primarily to survey the evidence for the involvement of Liverpool traders and dealers in the profitable slop trade supplying the Royal Navy and the ever increasing merchant fleet involved in the slave trade from Africa across the Atlantic. It will provide examples that suggest that Liverpool was ideally placed, fiercely independent and commercially dominant, to be able to seize a sizeable portion of the trade in ready-made slop clothing for its resident merchants and sailors.","PeriodicalId":43311,"journal":{"name":"TEXTILE HISTORY","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2021-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49315745","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Megan Cifarelli, ed., Fashioned Selves: Dress and Identity in Antiquity","authors":"L. Quillien","doi":"10.1080/00404969.2021.1948195","DOIUrl":"https://doi.org/10.1080/00404969.2021.1948195","url":null,"abstract":"confident hand and a fine understanding of perspective and colour. In delving in such detail into the Spanish interlude in Grognard’s long and productive life, this book underlines the many aesthetic, financial, linguistic, social and technical skills that prepared this talented manufacturer’s son to serve elite clients in different European states and unexpectedly rise to the position of Inspector of the Mobilier Imp erial in 1813. After his death he was hailed as a role model for pupils at the Lyonnais Ecole des Beaux-Arts to which he left a substantial legacy. Textiles were at the heart of his life’s work; Spanish royal family and grandees were key to his success in his fourth decade.","PeriodicalId":43311,"journal":{"name":"TEXTILE HISTORY","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2021-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47840638","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Brenda M. King, The Wardle Family and its Circle: Textile Production in the Arts and Crafts Era","authors":"Zoë Thomas","doi":"10.1080/00404969.2021.2007680","DOIUrl":"https://doi.org/10.1080/00404969.2021.2007680","url":null,"abstract":"Brenda M. King’s long-awaited The Wardle Family and its Circle illuminates the industrious, creative and entrepreneurial activities of the Staffordshire-based Wardle family across the late nineteenth and early twentieth centuries. Despite being highly acclaimed in artistic, intellectual and commercial circles during their lives, histories of the Arts and Crafts and Aesthetic Movements— and textile histories and histories of entrepreneurial families more generally — have, until now, largely overlooked the extent of the Wardles’ frenetic, pioneering accomplishments. The book is organised around four thematic chapters, the first of which offers an introduction to the Wardles and discusses important moments, such as William Morris’s many interactions with the family. Several family members were involved in the business, but key figures were the professional embroiderer Elizabeth; her husband Thomas, an artist and chemist who pioneered manufacturing processes in Indian wild silk dyeing; and Elizabeth’s brother, George Young Wardle, a designer who worked with both William Morris and Thomas Wardle. The second chapter tells the history of the Leek Embroidery Society. Launched in 1879–1880 by Thomas and Elizabeth, it became widely known for its production of exquisite domestic and ecclesiastical work, with most of the materials being manufactured, dyed and printed in Staffordshire. The third chapter discusses the Society’s creation of a facsimile of the Bayeux Tapestry, reflecting on how and why it was made and asserting its significance. The final chapter argues for the collaborative nature of the work produced for the new Gothic Revival churches in the Staffordshire area during this area, revealing that the architects who created the designs worked closely with the needlewomen who interpreted their schemes for church interiors, as well as the workers who produced the materials. This engaging book makes several crucial contributions. Positioning the Wardle family centre-stage contributes to the growing scholarly move to recalibrate understanding of the Arts and Crafts Movement by moving the focus away from the activities of a small cluster of elite men based in South-East England. Rather than simply following in the footsteps of better-known names, the Wardles, based in Leek in the West Midlands, are shown as pioneering creative figures in their own right. The focus on Elizabeth Wardle is a welcome contribution. Chapter 3 provides evidence for the significance of the embroidery she produced and her public role in the Leek community. Moreover, King makes an important wider argument about the need for greater specificity when considering the historical activities and agency of female needlework artists: ‘The concept of the suppressed seamstress or bored housewife who plies a needle is a seductive and persistent one, but has denied the public acclaim that many creative women undoubtedly experienced’ (p. 187). Her brief analysis of trade directories tantalis","PeriodicalId":43311,"journal":{"name":"TEXTILE HISTORY","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2021-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46670068","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Serena Dyer and Chloe Wigston Smith, eds, Material Literacy in Eighteenth-Century Britain: A Nation of Makers","authors":"Clare Rose","doi":"10.1080/00404969.2021.1948234","DOIUrl":"https://doi.org/10.1080/00404969.2021.1948234","url":null,"abstract":"","PeriodicalId":43311,"journal":{"name":"TEXTILE HISTORY","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2021-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46141303","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Burgu Dogramaci, ed., Textile Modernism","authors":"A. Coxon","doi":"10.1080/00404969.2021.2007669","DOIUrl":"https://doi.org/10.1080/00404969.2021.2007669","url":null,"abstract":"undoubtedly is the impressive sixteenthcentury parokhet (curtain) from Prague’s Jewish Museum, notable not only for its accomplished craftsmanship, but also for the family history behind its making (pp. 310–11). The shorter third section examines the inscriptions on textiles donated to the synagogue by pious adherents. It includes an annotated corpus of dedicatory inscriptions found on synagogal textiles, an interesting source of information on Jewish customs. The book is further complemented by appendices on inventory lists, documents relevant to textiles and various indexes. Without question, this monograph is based on solid scholarship and it will pave the way to more focused and detailed case studies. One possible direction is the comparative study of synagogal textiles in multicultural contexts, exploring the practices shared with the other Abrahamic religions.","PeriodicalId":43311,"journal":{"name":"TEXTILE HISTORY","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2021-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45307047","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Articles of Interest, hosted by Avery Trufelman, https://99percentinvisible.org/aoi/ Handcut Radio, hosted by Aleks Cvetkovic, https://www.handcutradio.com","authors":"Cyana Madsen","doi":"10.1080/00404969.2021.2037913","DOIUrl":"https://doi.org/10.1080/00404969.2021.2037913","url":null,"abstract":"","PeriodicalId":43311,"journal":{"name":"TEXTILE HISTORY","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2021-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42965741","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"K. L. H. Wells, Weaving Modernism: Postwar Tapestry between Paris and New York","authors":"Janis Jefferies","doi":"10.1080/00404969.2021.2007670","DOIUrl":"https://doi.org/10.1080/00404969.2021.2007670","url":null,"abstract":"K. L. H. Wells’s Weaving Modernism: Postwar Tapestry Between Paris and New York is a thoroughly researched examination of western tapestry’s role as a modernist medium. Wells maps out how tapestry became a form attracting key modern artists, including Picasso, Mir o, Matisse, Lurçat, Helen Frankenthaler, Josef Albers and Anni Albers, to its economic worth as multiples or limited editions, reproduced from an original artwork. Wells defines western tapestry in the opening pages of her study. Since the fifteenth century, the standard technique to produce tapestry in the western tradition is on either a high-warp or low-warp loom. For 500 years, the specialised weavers of Flanders, France, England, Italy, Germany and elsewhere carried on the tradition of weaving after a cartoon (fullscale preliminary design) provided to them by professional painters. By the time of the Second World War, many large-scale, expensive European tapestry workshops, such as Arras, Tournai and Brussels, as well as the Beauvais factory in Paris, had little economic viability. The revival of the art of tapestry after 1945 is mainly due to the French artist Jean Lurçat (1892–1966). He gathered around him major contemporary architects and painters such as Le Corbusier and Picasso and persuaded them to design tapestry cartoons. In the 1950s Lurçat was a very successful artist exhibiting worldwide; although he was a painter, not a weaver, most of his works were woven in the historic workshops of the French city of Aubusson. Aubusson tapestries are still recognised as a gold standard throughout the world. Lurçat believed that tapestries should be given front-door access to museums and be acknowledged as a type of monumental art, collected and promoted by curators and private buyers alike. As Wells points out, French patrons such as Marie Cuttoli encouraged artists to embrace tapestry as heir to a rich artistic tradition and sold their work well and at high prices (pp. 131–33). It is one of the strengths of Wells’s book that she positions western tapestry as part of a broader marketplace modernism in which artists produced work for corporate locations and churches as well as for museums, galleries and private homes. Indeed, for Wells, tapestry was a model for the modernist movement on both sides of the Atlantic. As she argues, ‘tapestry enabled the rise of modernist abstraction to its position of dominance, most obviously expanding the market for modern art but also in subtler ways in which tapestry served as a conceptual and formal model for modern artists’ (p. 3). The term ‘marketplace modernism’ is very useful in Wells’s study. As coopted by the marketplace, modernism quickly became the most efficient and effective means to sell to a public eager to recover some form of comfort and satisfaction in a traumatised post-war world. For example, Pablo Picasso, as a leader of the avant-garde, was a model for other artists, and his commercial strategies reveal the market not merely as a ","PeriodicalId":43311,"journal":{"name":"TEXTILE HISTORY","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2021-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44379250","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Behind the Seams: Global Circulations in a Group of Japanese-Inspired Cotton Nightgowns c. 1700","authors":"Ariane Fennetaux","doi":"10.1080/00404969.2021.1938793","DOIUrl":"https://doi.org/10.1080/00404969.2021.1938793","url":null,"abstract":"Starting from close analysis of a late seventeenth-century cotton nightgown made in India that borrows its pattern from a traditional Japanese motif, this article contextualises the garment within a group of three other similar gowns to understand the complex cultural geographies they wove together. From the small material details of the making and design of these textile hybrids, the article retraces a larger story of global trade and exchange: a story that takes us from Europe to Japan, India and beyond. It shows how even within what may seem like a neat pattern of circulation between three geographical areas, linked together by the arrival in Asia of European trading companies such as the Dutch East India Company or VOC, various multi-layered patterns of hybridisation coexisted and sometimes pre-existed the arrival of European traders.","PeriodicalId":43311,"journal":{"name":"TEXTILE HISTORY","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2021-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44872679","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Production of Uniform Cloth and Military Uniforms in Russia (1698–1762)","authors":"V. Ivleva","doi":"10.1080/00404969.2022.2041993","DOIUrl":"https://doi.org/10.1080/00404969.2022.2041993","url":null,"abstract":"This article studies a corpus of state decrees aimed at regulating production of uniform cloth and military uniforms in Russia in the period between the reign of Peter I (1682–1725) and Peter III (1762). It discusses developments and challenges faced by this nascent textile industry and their wider social and cultural implications.","PeriodicalId":43311,"journal":{"name":"TEXTILE HISTORY","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2021-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47882755","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}