History Lesson 6
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Women's Clothing in the 18Th Century
National Park Service Park News U.S. Department of the Interior Pickled Fish and Salted Provisions A Peek Inside Mrs. Derby’s Clothes Press: Women’s Clothing in the 18th Century In the parlor of the Derby House is a por- trait of Elizabeth Crowninshield Derby, wearing her finest apparel. But what exactly is she wearing? And what else would she wear? This edition of Pickled Fish focuses on women’s clothing in the years between 1760 and 1780, when the Derby Family were living in the “little brick house” on Derby Street. Like today, women in the 18th century dressed up or down depending on their social status or the work they were doing. Like today, women dressed up or down depending on the situation, and also like today, the shape of most garments was common to upper and lower classes, but differentiated by expense of fabric, quality of workmanship, and how well the garment fit. Number of garments was also determined by a woman’s class and income level; and as we shall see, recent scholarship has caused us to revise the number of garments owned by women of the upper classes in Essex County. Unfortunately, the portrait and two items of clothing are all that remain of Elizabeth’s wardrobe. Few family receipts have survived, and even the de- tailed inventory of Elias Hasket Derby’s estate in 1799 does not include any cloth- ing, male or female. However, because Pastel portrait of Elizabeth Crowninshield Derby, c. 1780, by Benjamin Blythe. She seems to be many other articles (continued on page 8) wearing a loose robe over her gown in imitation of fashionable portraits. -
Suicide Deaths and Quality of Indian Cotton: Perspectives from History of Technology and Khadi Movement Author(S): C
Suicide Deaths and Quality of Indian Cotton: Perspectives from History of Technology and Khadi Movement Author(s): C. Shambu Prasad Source: Economic and Political Weekly, Vol. 34, No. 5 (Jan. 30 - Feb. 5, 1999), pp. PE12-PE21 Published by: Economic and Political Weekly Stable URL: http://www.jstor.org/stable/4407604 . Accessed: 13/06/2014 06:16 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Economic and Political Weekly is collaborating with JSTOR to digitize, preserve and extend access to Economic and Political Weekly. http://www.jstor.org This content downloaded from 130.92.9.57 on Fri, 13 Jun 2014 06:16:17 AM All use subject to JSTOR Terms and Conditions Suicide Deaths and Quality of Indian Cotton Perspectives from History of Technology and Khadi Movement C Shambu Prasad The suicide deaths of farmers is a failure of agricultural science and the historical nature of the crisis needs to be appreciated. This paper seeks to retrace the route by which the present connections between Indian cotton and the mechanised textile industry were first established, a direction that has led to the present crisis on the fields of the cotton jflrmers. -
The “African Print” Hoax: Machine Produced Textiles Jeopardize African Print Authenticity
The “African Print” Hoax: Machine Produced Textiles Jeopardize African Print Authenticity by Tunde M. Akinwumi Department of Home Science University of Agriculture, Abeokuta, Nigeria Abstract The paper investigated the nature of machine-produced fabric commercially termed African prints by focusing on a select sample of these prints. It established that the general design characteristics of this print are an amalgam of mainly Javanese, Indian, Chinese, Arab and European artistic tradition. In view of this, it proposed that the prints should reflect certain aspects of Africanness (Africanity) in their design characteristics. It also explores the desirability and choice of certain design characteristics discovered in a wide range of African textile traditions from Africa south of the Sahara and their application with possible design concepts which could be generated from Macquet’s (1992) analysis of Africanity. This thus provides a model and suggestion for new African prints which might be found acceptable for use in Africa and use as a veritable export product from Africa in the future. In the commercial parlance, African print is a general term employed by the European textile firms in Africa to identify fabrics which are machine-printed using wax resins and dyes in order to achieve batik effect on both sides of the cloth, and a term for those imitating or achieving a resemblance of the wax type effects. They bear names such as abada, Ankara, Real English Wax, Veritable Java Print, Guaranteed Dutch Java Hollandis, Uniwax, ukpo and chitenge. Using the term ‘African Print’ for all the brand names mentioned above is only acceptable to its producers and marketers, but to a critical mind, the term is a misnomer and therefore suspicious because its origin and most of its design characteristics are not African. -
How Is Chintz Made and Where Does It Originate? Where Is It Commonly
How is chintz 1. It is a closely woven, lustrous, plain weave cotton fabric, printed or made and where plain, that has been glazed with starch or glue and then friction does it originate? calendered. Much used for curtains and upholstery. Where is it 2. It was originally a painted or stained calico produced in India and commonly used? popular for bed covers, quilts and draperies, popular in Europe in 17th century and 18th century, where it was imported and later produced. Europeans at first produced reproductions of Indian designs, and later added original patterns. 3. A well-known make was toile de Jouy, which was manufactured in Jouy, France between 1700 and 1843. Today it usually consists of bright patterns printed on a light background. Which weave is used 1. It is a rich fabric using the Jacquard weave where an all over to produce Brocade, interwoven design usually floral patterns. and where is it used? 2. It is used for upholstery and other interior products and often incorporates gold, silver or other metallic yarns. 3. It is also used in Chinese garments. 4. Brocade is typically woven on a draw loom. It is a supplementary weft technique, that is, the ornamental brocading is produced by a supplementary, non-structural, weft in addition to the standard weft that holds the warp threads together. The purpose of this is to give the appearance that the weave actually was embroidered on. How are chenille yarns 1. The weft yarn is manufactured by placing short lengths of yarn, called made and how are they the "pile", between two "core yarns" and then twisting the yarn used? together. -
Textiles for Dress 1800-1920
Draft version only: not the publisher’s typeset P.A. Sykas: Textiles for dress 1800-1920 Textile fabrics are conceived by the manufacturer in terms of their material composition and processes of production, but perceived by the consumer firstly in terms of appearance and handle. Both are deeply involved in the economic and cultural issues behind the wearing of cloth: cost, quality, meaning. We must look from these several perspectives in order to understand the drivers behind the introduction of fabrics to the market, and the collective response to them in the form of fashion. A major preoccupation during our time frame was novelty. On the supply side, novelty gave a competitive edge, stimulated fashion change and accelerated the cycle of consumption. On the demand side, novelty provided pleasure, a way to get noticed, and new social signifiers. But novelty can act in contradictory ways: as an instrument for sustaining a fashion elite by facilitating costly style changes, and as an agent for breaking down fashion barriers by making elite modes more affordable. It can drive fashion both by promoting new looks, and later by acting to make those looks outmoded. During the long nineteenth century, the desire for novelty was supported by the widely accepted philosophical view of progress: that new also implied improved or more advanced, hence that novelty was a reflection of modernity. This chapter examines textiles for dress from 1800 to 1920, a period that completed the changeover from hand-craft to machine production, and through Europe’s imperial ambitions, saw the reversal of East/West trading patterns. -
Globalization, Youth and Khadi
6 Globalization, Youth and Khadi Upinder Kaur* and Hitender Singh Rathore** Khadi is hand woven, hand spun fabric made with natural fibers. Unique features like zero carbon footprint make Khadi, India’s truly indigenous textile. There is a strong demand for fashion apparels in the Indian market.The buying behaviour of Indian apparel sector is affected by the existence of young population, globalization, higher buying power, and self-image. This paper investigates the perception of the brand image of Khadi and preference of Khadi textiles/apparel among the youth in Delhi between the age group 20-35 years. Purposive sampling was conducted through structured questionnaire and observation of 168 young consumers at malls and shopping centers. The Major Statistical tool used for analysis was ANOVA.This study finds the inclination of the youth is more towards International and other domestic fashion brands in comparison to the brand Khadi. Based on the findings, recommendations are suggested to Khadi textile industry so that it could become youth-centric. [Keywords : Globalization, Youth, Khadi, Brand awareness, Brand perception, Self-image]. 1. Introduction In Mahatma Gandhi’s own words Khadi is defined as “Hand-woven cloth made of hand-spun yarn is of course khadi, however fine it may be. It may be made of cotton, silk or even of wool. One should wear whichever of these one happens to find convenient. The khadi from Andhra is very fine. In Assam, one can get some khadi made of silk. Woollen khadi is made in Kathiawar. In other words, the only criterion of khadi is its being hand-spun and hand-woven” (Gandhi, CWMG, Vol 28, 1925). -
Sharing the Magic of Indian Handspun, Handloom Cotton
Fumie Kobayashi Born in Osaka Prefecture in 1973, Kobayashi developed an interest in cloth as a child through the influence of her grandparents, who worked in textiles. After graduating from Sophia University in Tokyo, he history of handspun, Today, the textile industry is she started her career in media and later switched to consulting. Now she is president of CALICO LLC, handloom cotton in India one of India’s major industries, which serves as a sales agency for Indian handspun, handloom cotton and its products. T goes back very far. It is said that employing around 35 million people. people have been making such cloth The handloom industry, which is in the Indus Valley Civilization since part of it, accounts for 95 percent around 2000 BC. Fumie Kobayashi, of the entire world’s handloom president of CALICO LLC, is fascinated production, with an estimated 4.3 by the texture and beauty of Indian million or so handloom weavers in traditional handspun, handloom India. Surrounding a single artisan cotton. While working in the Delhi weaver are many men and women office of a consulting company, cooperating in various jobs, such she started dreaming of “further as spinning yarn, preparing warps Above: CALICO has made its own original brass printing plate and uses Ajrakh spreading the skills and promoting and wefts and dyeing, washing and block-print techniques to replicate the patterns of hand-printed sarasa cloth with a contemporary flair. an appreciation of Indian handspun, selling the cloth. “India’s father of Right: A beautiful embroidered and appliqué Rabari tote bag. -
3.App-EFFECT of MERCERIZATION UNDER TENSION on THE
IMPACT: International Journal of Research in Applied, Natural and Social Sciences (IMPACT: IJRANSS) ISSN(P): 2347-4580; ISSN(E): 2321-8851 Vol. 5, Issue 4, Apr 2017, 19-26 © Impact Journals EFFECT OF MERCERIZATION UNDER TENSION ON THE DRAPABILITY AND STRENGTH OF COTTON KHADI FABRIC ADYA TIWARI 1 & RAJKUMARI JAIN 2 1Department of Textiles & Apparel Designing, College of Home Science, MPUAT, Udaipur, India 2Department of Clothing & Textiles, College of Home Science, Banasthali University, Rajasthan, India ABSTRACT Present study was aimed at assessing the effect of mercerization under tension on physical properties (drapability and tensile strength) of gray cotton khadi fabric. Different parameters of mercerization treatment such as conc. of sodium hydroxide palates and time duration of the treatment were optimized. Two methods of the treatment were given (slack mercerization and mercerization under tension) at 40 °C with different concentrations (5%, 15% and 25%) for different time periods (10min, 20min and 30min). The treated cotton khadi fabric was evaluated in terms of tensile strength and drapability of cotton khadi fabric. Mercerization under tension gave the best results with 25% concentration of NaOH for 30min at 40 °C followed by the fabric, with different time (10min and 20min) duration of the treatment. The results showed that as the time and concentrations were increased, the tensile strength was also increased of mercerization under tension as compare to the controlled and slack mercerization samples. Some properties were decreased after mercerization treatment for example %drape co-efficient was decreased and drape area also decreased means andanother mode of subjective expression of drapability i.e. higher the no. -
Weavers , Iron Smelters and Factory Owners
6 Weavers, Iron Smelters and Factory Owners Fig. 1 Fig. 1 – Trading ships on the port of Surat in the seventeenth century Surat in Gujarat on the west coast of India was one of the most important ports of the Indian Ocean trade. Dutch and English trading ships began using the port from the early seventeenth century. Its importance declined in the eighteenth century. This chapter tells the story of the crafts and industries of India during British rule by focusing on two industries, namely, textiles and iron and steel. Both these industries were crucial for the industrial revolution in the modern world. Mechanised production of cotton textiles made Britain the foremost industrial nation in the nineteenth century. And when its iron and steel industry started growing from the 1850s, Britain came to be known as the “workshop of the world”. The industrialisation of Britain had a close connection with the conquest and colonisation of India. You have seen (Chapter 2) how the English East India Company’s interest in trade led to occupation of territory, and how the pattern of trade changed over the decades. In the late eighteenth century the Company was buying goods in India and exporting them to England and Europe, making profit through this sale. With the growth of industrial production, British industrialists began to see India as a vast market for their industrial products, and over time manufactured goods from Britain began flooding India. How did this affect Indian crafts and industries? This is the question we will explore in this chapter. 65 2019-200 Indian Textiles and the World Market Let us first look at textile production. -
Indian Textiles in the Indian Ocean Trade in the Early Modern Period
Indian Textiles in the Indian Ocean Trade In the Early Modern Period Om Prakash* The Indian Ocean is by far the oldest of the seas in history, in terms of it being used and traversed by humans. Intense commercial activity has been carried out in the Ocean at least over the last two millennia. Networks of trade covering different segments of the Ocean have a history of remarkable resilience without being resistant to innovation. While all kinds of commodities, including precious metals, have figured in the Indian Ocean trade, textiles both for mass as well as elite consumption have always had a very special place, both qualitatively, as well as quantitatively, in this trade. In addition to being used for wearing apparel purposes and as furnishings, textiles have also had an important function to perform in the domain of rituals, exchange of gifts, identity formation and so on. In the domain of economics, textiles often served as currency and as medium of exchange. Being probably the largest, and perhaps the most cost-competitive, producer of textiles of all varieties for centuries, India has been at the centre of Indian Ocean trade in textiles for a long period of time. Indian textiles have figured prominently both in the trade with west Asia and the Mediterranean via the Arabia Sea as well as with mainland and island southeast Asia via the Bay of Bengal. As for the first of these regions, the first century A.D. Periplus Maris * Delhi School of Economics, University of Delhi, Delhi-110007 INDIA. Email: [email protected] . -
The Textile Museum Thesaurus
The Textile Museum Thesaurus Edited by Cecilia Gunzburger TM logo The Textile Museum Washington, DC This publication and the work represented herein were made possible by the Cotsen Family Foundation. Indexed by Lydia Fraser Designed by Chaves Design Printed by McArdle Printing Company, Inc. Cover image: Copyright © 2005 The Textile Museum All rights reserved. No part of this document may be reproduced, stored in a retrieval system, or transmitted in any form or by any means -- electronic, mechanical, photocopying, recording or otherwise -- without the express written permission of The Textile Museum. ISBN 0-87405-028-6 The Textile Museum 2320 S Street NW Washington DC 20008 www.textilemuseum.org Table of Contents Acknowledgements....................................................................................... v Introduction ..................................................................................................vii How to Use this Document.........................................................................xiii Hierarchy Overview ....................................................................................... 1 Object Hierarchy............................................................................................ 3 Material Hierarchy ....................................................................................... 47 Structure Hierarchy ..................................................................................... 55 Technique Hierarchy .................................................................................. -
Batik of Java: Global Inspiration Maria Wronska-Friend the Cairns Institute, James Cook University, [email protected]
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Textile Society of America Symposium Proceedings Textile Society of America 2018 Batik of Java: Global Inspiration Maria Wronska-Friend The Cairns Institute, James Cook University, [email protected] Follow this and additional works at: https://digitalcommons.unl.edu/tsaconf Part of the Art and Materials Conservation Commons, Art Practice Commons, Fashion Design Commons, Fiber, Textile, and Weaving Arts Commons, Fine Arts Commons, and the Museum Studies Commons Wronska-Friend, Maria, "Batik of Java: Global Inspiration" (2018). Textile Society of America Symposium Proceedings. 1080. https://digitalcommons.unl.edu/tsaconf/1080 This Article is brought to you for free and open access by the Textile Society of America at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Textile Society of America Symposium Proceedings by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. Published in Textile Society of America Symposium Proceedings 2018 Presented at Vancouver, BC, Canada; September 19 – 23, 2018 https://digitalcommons.unl.edu/tsaconf/ Copyright © by the author(s). Batik of Java: Global Inspiration Maria Wronska-Friend [email protected] Batik, the resist-dyeing technique of patterning cloth through the application of wax, has been known since antiquity in several parts of the world, but it reached its highest level of complexity on the island of Java. While deeply embedded in local traditions and associated with the beliefs, philosophy, and social order of Java, during the last two centuries batik has become a powerful cultural intermediary connecting Indonesia with other parts of the world.