Shisha Glass Embroidery

Total Page:16

File Type:pdf, Size:1020Kb

Shisha Glass Embroidery irror a central feature from which to expand your design. your expand to which from feature central a irror m Aust. Fax: (03) 5447 7899 5447 (03) Fax: Aust. its and Tambour Hooks ~ Fine Needlecraft Products ~ Products Needlecraft Fine ~ Hooks Tambour and its Lurex, K surrounding concentric patterns of stitching, making the making stitching, of patterns concentric surrounding ust.Telephone:(03) 5447 7699 5447 ust.Telephone:(03) A amhlAtSls ai hsaGas Metals, Glass, Shisha Sadi, Silks, Art Rajmahal ~ ads as desired. Mirrors can also be decorated with decorated be also can Mirrors desired. as ads e thr www.rajmahal.com.au of covering fabric to your ground fabric, using stiches and stiches using fabric, ground your to fabric covering of International Fax: 61 3 5447 7899 5447 3 61 Fax: International o be applied, then, holding Shisha in place, embroider edge embroider place, in Shisha holding then, applied, be o t hiffon etc. Cut fabric slightly larger than the Shisha Glass Shisha the than larger slightly fabric Cut etc. hiffon c International Telephone:61 3 5447 7699 5447 3 Telephone:61 International okn-ls”faeo he arc ..tle muslin, tulle, e.g. fabric, sheer of frame looking-glass” “ 182 High Street, Kangaroo Flat 3555 Victoria Australia Victoria 3555 Flat Kangaroo Street, High 182 Shisha may also be attached by applying a applying by attached be also may Shisha Using Fabric: Using R ajmahal Art Silks Art ajmahal a stamped, self-addressed envelope to: envelope self-addressed stamped, a free colour brochure and a stockist’s list, please send please list, stockist’s a and brochure colour free a wrong side to hold the mirror in place. in mirror the hold to side wrong If you would like further information on Rajmahal products, Rajmahal on information further like would you If laced over a circular mirror and slip stitched from the from stitched slip and mirror circular a over laced p This ring may then be then may ring This . ppropriate size with art silk art with size ppropriate a designer or teacher with Rajmahal, please contact us. contact please Rajmahal, with teacher or designer rochet or cover a rubber, metal or wooden ring of ring wooden or metal rubber, a cover or rochet C through our website. For information on becoming a becoming on information For website. our through please send a SAE to us at the address below or contact us contact or below address the at us to SAE a send please on using Sadi. using on needlework through applying these simple techniques. simple these applying through needlework rmation on Rajmahal products and their applications, their and products Rajmahal on rmation nf o i The Luxury of Sadi” brochure by Rajmahal for details for Rajmahal by brochure Sadi” of Luxury The See “ Add excitement, interest and extra beauty to your to beauty extra and interest excitement, Add cross on some or all top stitches for a wonderful effect. wonderful a for stitches top all or some on cross a ike details of classes, your nearest stockists, or further or stockists, nearest your classes, of details ike l hread should pierce the ground fabric.The Sadi can be laid be can Sadi fabric.The ground the pierce should hread t echniques in conjunction with our retailers. If you would you If retailers. our with conjunction in echniques t attempt to pull Sadi through the fabric. Only the working the Only fabric. the through Sadi pull to attempt Rajmahal Rajmahal Agents and teachers run classes in special in classes run teachers and Agents Shisha (Mirror) Glass (Mirror) Shisha decorative feature on the front of the Shisha. Do not Do Shisha. the of front the on feature decorative contact Rajmahal for information about projects. about information for Rajmahal contact needle number 7) and laid across Shisha to form a form to Shisha across laid and 7) number needle Applying to Introduction An hich incorporate Shisha embroidery. Please feel free to free feel Please embroidery. Shisha incorporate hich w May be threaded onto art silk (use a straw a (use silk art onto threaded be May Sadi Threads: Sadi he popular craft magazines have begun to publish projects publish to begun have magazines craft popular he T by Betty Luke is a useful publication. useful a is Luke Betty by from Rajmahal.“Sadi Thread and Shisha Glass Embroidery” Glass Shisha and Thread Rajmahal.“Sadi from Books, kits and patterns for Shisha Embroidery are available are Embroidery Shisha for patterns and kits Books, ajr,mtltra mriey irrebodr . .. embroidery mirror embroidery, thread metal Banjara, uc,Suahr,Rjshn rn eta sa Russia, Asia, Central Iran, Rajasthan, Saurashtra, Kutch, circle is completed. is circle work, raised work, Sindi embroidery, Folk Embroidery of the of Embroidery Folk embroidery, Sindi work, raised work, and bring up at E and keep repeating this method until method this repeating keep and E at up bring and D ne ednssc s bl hrt iaa,mc,stump mica, sisadar, bharat, abhla as: such headings under under needle, pull thread through and take needle down at down needle take and through thread pull needle, under form of needlecraft, we suggest that you begin in libraries in begin you that suggest we needlecraft, of form needle down at B and bring it up at C, keeping thread keeping C, at up it bring and B at down needle If you are interested in further researching this wonderful this researching further in interested are you If onaintra,bignel onoe hstra,take thread, this over down needle bring thread, foundation Bring the needle up at A, take needle up and under and up needle take A, at up needle the Bring and applications. and ork the basic frame foundation to hold Shisha in place. in Shisha hold to foundation frame basic the ork W your Shisha work enough to venture further with techniques with further venture to enough work Shisha your Lazy Daisy worked on Shisha on worked Daisy Lazy introductory guide only and we hope that you will enjoy will you that hope we and only guide introductory Embroidery an as meant is brochure embroidery.This of forms versatile considered one of the most fascinating, beautiful and beautiful fascinating, most the of one considered mbroidery with Shisha, metal and Sadi threads is rightly is threads Sadi and metal Shisha, with mbroidery E The Luxury of Shisha Glass Shisha of Luxury The manner until required space if filled. if space required until manner Shisha Glass Shisha this in around going continue G, and A under forward orward under two spokes E and A, backwards over A and A over backwards A, and E spokes two under orward f Shisha. .Work from right to left, go back over one spoke E, spoke one over back go left, to right from .Work E the needle thread tension so that long loops form over the over form loops long that so tension thread needle the around central threads and bring needle out between A and A between out needle bring and threads central around edge of the Shisha. Have the spool tension much looser than looser much tension spool the Have Shisha. the of edge in centre by taking thread from side of Shisha, take thread take Shisha, of side from thread taking by centre in sure that the needle pierces the fabric very close to the to close very fabric the pierces needle the that sure Attach with spoke frame, up at A, down at B etc., then start then etc., B at down A, at up frame, spoke with Attach tahSih ls sn remciefahrsic.Make stitch. feather machine free a using Glass Shisha attach The Luxury of of Luxury The Ribbed Spiderweb Stitch Spiderweb Ribbed It is also possible also is It ihpatc,to practice, with , Machine Machine Application: plcto ehd,Continued Methods, Application Continued Methods, Application firmly.Take needle down to the right of A, then up at C. Keeping Application Methods thread to right of needle, take needle over and then under the Introduction to Shisha Glass In the space of a brochure, only the basic application outlines can foundation threads. Bring needle out on left side of long leg The history of Shisha Glass is fascinating.An integral part of be described. Do research and experiment with other methods of stitch, close to Shisha edge, then down on the right side of leg the folk embroidery of Russia and Central Asia for close to Shisha edge. Bring up at E. Continue, keeping stitches application.The basic applications given here can be enhanced by close. centuries, Shisha is believed to originate from the jats of altering surrounding embroidery in terms of stitches and threads Banni and Lohnas of Khavada.The wealthy classes of used. Variation of Cretan Central Asia, Russia and the indian subcontinent wore The angle and length of the stitch worked into the fabric may be clothing embroidered with precious metal threads and Mark fabric to show where shisha will be placed. (A tiny changed to create different effects. piece of double-sided tape or silicone helps hold mirror in jewels. Camel girths and animal decoration were and are place). Secure working thread, then, holding the Shisha Glass embroidered using coloured silks, metal threads and much between your thumb and index finger, bring the needle Shisha. Less prosperous people used cheaper decorations, through from the back of fabric. Stitch two parallel long e.g. chips of mica and beetles’ wings embroidered onto stitches across the glass.Take a small back stitch to secure cloth to give a rich, luxurious look. During the 1500’s, mica thread, then stitch the next set of parallel lines at right angles and wings were largely replaced by pieces of mirror.
Recommended publications
  • Aesthetics and Utility in a Tribal Fusion Belly Dance Troupe’S Costumes Jeana Jorgensen Butler University, [email protected]
    Butler University Digital Commons @ Butler University Scholarship and Professional Work - LAS College of Liberal Arts & Sciences 2006 Whether it’s coins, fringe, or just stuff that’s sparkly': Aesthetics and Utility in a Tribal Fusion Belly Dance Troupe’s Costumes Jeana Jorgensen Butler University, [email protected] Follow this and additional works at: http://digitalcommons.butler.edu/facsch_papers Part of the Dance Commons, Feminist, Gender, and Sexuality Studies Commons, Folklore Commons, and the Social and Cultural Anthropology Commons Recommended Citation Jorgensen, Jeana, "Whether it’s coins, fringe, or just stuff that’s sparkly': Aesthetics and Utility in a Tribal Fusion Belly Dance Troupe’s Costumes" Midwestern Folklore / (2006): 83-97. Available at http://digitalcommons.butler.edu/facsch_papers/673 This Article is brought to you for free and open access by the College of Liberal Arts & Sciences at Digital Commons @ Butler University. It has been accepted for inclusion in Scholarship and Professional Work - LAS by an authorized administrator of Digital Commons @ Butler University. For more information, please contact [email protected]. Midwestern folklore. Terre Haute, Ind. : Dept. of English, Indiana State University, [1987- http://hdl.handle.net/2027/inu.30000125293849 Creative Commons Attribution http://www.hathitrust.org/access_use#cc-by-3.0 This work is protected by copyright law (which includes certain exceptions to the rights of the copyright holder that users may make, such as fair use where applicable under U.S. law) but made available under a Creative Commons Attribution license. You must attribute this work in the manner specified by the author or licensor (but not in any way that suggests that they endorse you or your use of the work).
    [Show full text]
  • GI Journal No. 75 1 November 26, 2015
    GI Journal No. 75 1 November 26, 2015 GOVERNMENT OF INDIA GEOGRAPHICAL INDICATIONS JOURNAL NO.75 NOVEMBER 26, 2015 / AGRAHAYANA 05, SAKA 1936 GI Journal No. 75 2 November 26, 2015 INDEX S. No. Particulars Page No. 1 Official Notices 4 2 New G.I Application Details 5 3 Public Notice 6 4 GI Applications Bagh Prints of Madhya Pradesh (Logo )- GI Application No.505 7 Sankheda Furniture (Logo) - GI Application No.507 19 Kutch Embroidery (Logo) - GI Application No.509 26 Karnataka Bronzeware (Logo) - GI Application No.510 35 Ganjifa Cards of Mysore (Logo) - GI Application No.511 43 Navalgund Durries (Logo) - GI Application No.512 49 Thanjavur Art Plate (Logo) - GI Application No.513 57 Swamimalai Bronze Icons (Logo) - GI Application No.514 66 Temple Jewellery of Nagercoil (Logo) - GI Application No.515 75 5 GI Authorised User Applications Patan Patola – GI Application No. 232 80 6 General Information 81 7 Registration Process 83 GI Journal No. 75 3 November 26, 2015 OFFICIAL NOTICES Sub: Notice is given under Rule 41(1) of Geographical Indications of Goods (Registration & Protection) Rules, 2002. 1. As per the requirement of Rule 41(1) it is informed that the issue of Journal 75 of the Geographical Indications Journal dated 26th November 2015 / Agrahayana 05th, Saka 1936 has been made available to the public from 26th November 2015. GI Journal No. 75 4 November 26, 2015 NEW G.I APPLICATION DETAILS App.No. Geographical Indications Class Goods 530 Tulaipanji Rice 31 Agricultural 531 Gobindobhog Rice 31 Agricultural 532 Mysore Silk 24, 25 and 26 Handicraft 533 Banglar Rasogolla 30 Food Stuffs 534 Lamphun Brocade Thai Silk 24 Textiles GI Journal No.
    [Show full text]
  • Why Indian Embroidered Clothing Is Preferred by Everyone?
    International Journal For Technological Research In Engineering Volume 1, Issue 1, September-2013 ISSN (Online): 2347 - 4718 WHY INDIAN EMBROIDERED CLOTHING IS PREFERRED BY EVERYONE? Mrs. Dharti B. Thakkar Lecturer in C.A.C.D. & D. M. Department, Government Polytechnic for Girls, Ahmedabad. I. INTRODUCTION Embroidered Clothing of your desire and style. Customized Indian Embroidered clothing is the most ancient trend of Clothing provides us a wide range of designs and fittings to fashion and is still going on and will surely last to long choose from. Embroidered Clothing has remained a mark of lasting ages. The origin of Embroidered Clothing lies in various civilizations and cultures. Kashmiri Embroidered Stone Age. Many Embroidered Clothing made of animal Clothing has earned a name worldwide. Phulkari is a famous skins decorated with threads and beads have been found clothing used by Punjabi women. Wigs used by Egyptians during several excavation projects. Ever since man has were designed out of human hair or wool. Arabic embroidery invented clothing for protecting himself from natural climatic styles are known for their extraordinary handicraft patterns changes, he has always remained desperate to develop new and designs. Some Embroidered Clothing is marked for designs and styles for his dresses. Embroidered Clothing has special occasion like wedding wear. Today not only colorful played a significant role in it. Designing of Embroidered threads are used for embroidery works but gold and silver Clothing is an art of giving different looks to the same dress fibers are also used. Such types of Embroidered Clothing are material by adding separate designs and patters to it.
    [Show full text]
  • For Directions on How to Make Shisha Click Here
    TORANS There are several sources for buying torans. Traditions in downtown Olympia sometimes has them and most belly dance events that have vendors will have some for sale. Some of them don’t have very many mirrors. Also Mas Uda has a “home made pattern for making the torans, as the “ready mades” don’t fit some dancers well. Making “Shisha “ 1. Make a straight stitch across one side of the mirror bring your needle up a little above the mirror and make another straight stitch down one side. 2. Work a "square" of straight stitches then another "square" on top, in the same way, but across the corners of the previous square. These foundation stitches need to be tight, and not too close to the edge of the mirror - work into these, and they will pull outwards; too loose or too near the edge, and the mirror will not be held securely. 3. Bring your needle up next to the mirror (anywhere) pass it under the foundation stitches, keeping the thread under the point of the needle (as though it were a blanket stitch). Pull tight. 4. Make a small stitch into the fabric, alongside the mirror, again keeping the thread under the needle (like a chain stitch). 5. Pass the needle under the foundation threads (remember to keep the thread under the needle). 6. Make another small stitch into the fabric, inserting the needle into the previous "chain" stitch. Repeat steps 5 and 6 all round the mirror, then finish thread securely on the back. Most people work clockwise around the mirror, as shown here.
    [Show full text]
  • Razzle-Dazzle: the Language of Ornament in Asian Costume and Textiles, June 16, 2006-October 15, 2006
    Razzle-Dazzle: The Language of Ornament in Asian Costume and Textiles, June 16, 2006-October 15, 2006 Shells, mirrors, beads, seeds, metal disks, coins, sequins, feathers; these are only some of the items that have been used to make clothing and textiles jingle, sparkle, and jiggle. Throughout time, all over the world, in every society, humans have embellished their clothing in ways that signal status and religion or serve as talismanic, flirtatious, or protective charms. These days, many Westerners have lost touch with the symbolic power of ornament applied to apparel, dismissing such adornment as superficial, artificial, and even disingenuous. The group of objects in this exhibition spanning the Asian world reminds viewers of the pleasure and meaning that such materials may convey. The English word "ornament" derives from the Latin ornare, meaning "to equip, get ready, or fit out." Some have pushed this definition one step further, suggesting that the term also expresses completion. Although not a structural necessity, ornament makes an object whole. How differently might we look upon certain articles in this gallery if they did not include gold for its inherent wealth and homage to hierarchy, purity, and indestructibility; silver, metal, and sequins for their associations with prosperity and protection; mirrors for their power to ward off malevolence; beads and seeds for their correlations with fortune, resiliency, and fertility; and feathers for their regal connotations? Lacking such accoutrements, these textiles would take on another function, causing the wearer to behave in another fashion and the beholders to interpret the behavior in other ways. The thread of meaning would dissolve.
    [Show full text]
  • January-2011
    Issue No. 153, January 2011 Palestinian Handicrafts ..................................................................................................4 Palestinian Christians An Innovative Approach to Reviving Palestinian Arts and Crafts ..................................6 Traditional but Trendy… ..............................................................................................10 Since it is such a wonderful season, Palestinians Christians still insist on Al Mirsat for Arts and Crafts .........................................................................................14 having three Christmases every year! As opposed to Jordanian Christians, Real-World Obstacles to Supernatural Demand: A Classic Tale of Tragedy ..............18 for instance, who have set 25 December to be Christmas for all Christians A Beacon for Perplexed Souls .....................................................................................22 in Jordan, here in Palestine, 25 December is only celebrated by members of The Devil in Disguise? Secrets of the Narghile ...........................................................30 Western Christian churches; 7 January is Christmas for the Eastern Orthodox Atfaluna Crafts .............................................................................................................34 churches, and, as if that were not enough, 18 January is celebrated by the Beauty and Identity for the Next Generation ...............................................................38 Armenian Orthodox Church. Three Christmases,
    [Show full text]
  • Dkxt Ij J[Ks Tkus Okyk Hkkj]
    1 GOVERNMENT OF INDIA GEOGRAPHICAL INDICATIONS JOURNAL (SUPPLEMENTARY - 1) MARCH- 24 , 2008/ CHAITRA - 4, SAKA 1930 2 vkf/kdkfjd lwpuk,¡ fo"k; % HkkSxksfyd min'kZu eky ¼iathdj.k vkSj laj{k.k½ fu;e 2002 ds fu;e 41¼1½ ds v/khu ;g lwfpr fd;k tkrk gSA 1- fu;e 41¼1½ ds vko';drk ds vuqlkj] ;g lqfpr fd;k tkrk gSS fd ekpZ 24 2008@&pSrz 10 'kd 1930 fnukafdr liyhesUVjh HkkSxksfyd min'kZu if=dk 1 dk laLdj.k la[;k 24] ekpZ] 2008 ls turk dks miyC/k djk;k tkrk gSA OFFICIAL NOTICES Sub: Notice is given under Rule 41(1) of Geographical Indications of goods (Registration & Protection) Rules 2002. 1. As per the requirement of Rule 41(1), it is informed that the issue of Supplementary Journal (1) of the Geographical Indication Journal dated 24th March 2008 / Chaitra- 4 Saka 1930 has been made available to the public from 24th March 2008. 3 HkkSxksfyd min'kZu vkosnu fooj.k% HkkSxksfyd HkkSxksfyd oxZ Ekky min'kZu min'kZu ds uke vkosnu la[;k 1 nkftZfyax ¼oMZ½ 30 Pkk; 2 nkftZfyax ¼yksxks½ 30 Pkk; 3 vkjUeqyk /kkrq dk¡p 20 /kkrq dk vkbuk 4 ikspeiYyh bDdr 24 oL= rFkk oL= eky] csM vkSj Vscy doj 25 oL=] ixMh 27 dkisZV] #eky] dEcy vkSj pVkbZ Q'kZ dks vkoj.k djus dh oLrq 5 Lksye oL= 24 oL= rFkk oL= eky 6 i;Uuwj ifo=k fjax 14 xguk 7 pansjh lkMh 24 lkfM+;ka 8 lksykiqj 24 pknj 4 G.I. Name of Geographical Application Goods Indication Class No.
    [Show full text]
  • 27Th February – 1St March 2020 Business Design Centre, London
    previously A-Z LEARNING CURVE and DRESSMAKING STUDIO AND WORKSHOP DESCRIPTIONS The Learning Curve and Dressmaking Studio Workshops Timetable and Detailed Information 27th February – 1st March 2020 Business Design Centre, London Dressmaking Studio • Workshops range from 1 hour taster sessions to 1.5 hour, 2 hours and 3 hours. Technique classes from basics • All materials you need are included in to couture for all dressmaking levels 1 hour, 1.5 hour and 2 hour sessions (unless otherwise stated). NEW baby lock Workshop Room • Sewing machines are provided where necessary. Learn to use an overlocker NB: Some of the longer classes (3 hour and 1 day) and garment making classes require you to bring More workshops than ever your own materials or pay for a kit on the day. Over 244 classes in 12 dedicated rooms What is needed is included in the course description. Tickets and information: thestitchfestival.co.uk or 0844 854 1349 BOOK EARLY TO AVOID DISAPPOINTMENT! thestitchfestival.co.ukNB: In order to attend any of the thestitchfstvlworkshops, you do also needthestitchfestival to purchase an entry ticket to the show. 1 TIMETABLE Thursday 27th February 2020 Early Morning classes starting at 8.30am or 9am include light refreshments of pastry and tea/coffeeE CODE START TITLE TUTOR ROOM LEVEL LENGTH COST 1 08:30 Knit with Wire: Dancing Spring Daffodils Susan Burns Room 4 I 1.5 hr £29 2 08:30 Everlasting Rag Rug Bouquets Elspeth Jackson, RaggedLife Room 5 AL 1.5 hr £29 3 08:30 Hand Stitched Memory Trinket Box Ami James Room 6 B 1.5 hr £29 4 08:30 Learn
    [Show full text]
  • Indian Embroidery ULITA Exhibition
    Indian Embroidery ULITA Exhibition May – December 2015 Panel text © ULITA – an Archive of International Textiles Indian Embroidered Textiles in ULITA The majority of the Indian textiles in the ULITA Collection were transferred from the West Riding Educational Resource Service, Bretton Hall, which took museum objects into schools during the 1970s-80s. These included contemporary costume. The museum already held a collection of Kashmiri shawls and embroidered shawl fragments, many collected by Sir Michael Sadler (a former Vice-Chancellor of the University). Several recent donations are exhibited, include two phulkari and this Gujarati boys smock. Indian Embroidery In gaining an understanding of Indian embroidery it is important to consider India’s position in relation to other countries, and its past trade, invasions and migration patterns. In the early 20th century this would have involved the whole subcontinent, but this has now been divided into the countries of Pakistan, Bangladesh and India. The movement of peoples though the subcontinent meant that similar embroidery can be found throughout these countries despite boundaries. India also lies along the trade routes of Asia, resulting in influences from both West (Persia) and East (China). Its extensive coastline has also enabled trade to flourish, with many countries, particularly the Europeans, several later becoming invaders. Various ethnic groups make up the population of India today. As in the past, specific techniques still generally relate to particular regions. Each still has its own identity, based on religion, patterns, cultural traditions and market requirements. In India, textiles are everywhere: on clothes, adorning animals, in temples and in homes. These items form part of the traditional way of life.
    [Show full text]
  • BSC Degree in Textile Design 1St Year 352-6 Traditional Indian
    BSC Degree in Textile Design 1st Year 352-6 Traditional Indian & Design Form 1 Page INDEX Unit – I .................................................................. 3 Lesson 1: History of Indian Textiles ...................... 4 Lesson 2: History and Function of Motifs, Shamanism ........................................................... 9 Unit - II ............................................................... 14 Lesson 3: Central Asian Motifs and their Significance ......................................................... 15 Unit - III ............................................................. 37 Lesson 4: Traditional Indian Motifs and their Significance ......................................................... 38 Unit – IV .............................................................. 82 Lesson 5: Contemporary Art ................................ 83 Unit – V ............................................................... 89 Lesson 6: Practical Exercises .............................. 90 Books for Further References .............................. 94 2 Page Unit – I Lesson 1: Brief History of Indian Textiles 3 Page Lesson 1: History of Indian Textiles Objective: “To know the depth of Indian textiles.” Introduction The production of sophisticated textiles within the Indian-subcontinent has prehistoric origins. The alternate wet and dry climate of the Indian sub- continent has ensured that only a few fragments of woven plant and animal fibres remain. The archaeological finds and literary references suggest delightful myths and legends,
    [Show full text]
  • Embroidering the Golden Chersonese: Metallic Thread Needlework in the Malay Peninsula
    University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Textile Society of America Symposium Proceedings Textile Society of America 2008 Embroidering the Golden Chersonese: Metallic Thread Needlework in the Malay Peninsula Hwei-Fe’n Cheah Australian National University, [email protected] Follow this and additional works at: https://digitalcommons.unl.edu/tsaconf Part of the Art and Design Commons Cheah, Hwei-Fe’n, "Embroidering the Golden Chersonese: Metallic Thread Needlework in the Malay Peninsula" (2008). Textile Society of America Symposium Proceedings. 87. https://digitalcommons.unl.edu/tsaconf/87 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. Embroidering the Golden Chersonese: Metallic Thread Needlework in the Malay Peninsula Hwei-Fe’n Cheah [email protected] Historians emphasize the diversity and fluidity of Malay world identity and culture, questioning the very meaning of “Malayness.”1 A summary glance at early twentieth century examples of metallic thread needlework reveals the “mixed and many” Malay embroidery styles.2 While these styles have been associated with different regions,3 the relationships between them have not been examined closely. This paper assesses examples of late 19th and early 20th century embroideries from four regions in the Malay peninsula. Although not comprehensive, it highlights two particular features of peninsular Malay embroideries – the use of glass and the ways in which plant forms are crystallized – as flexible means through which embroiderers and their patrons articulated a broader shared history alongside local interpretations.
    [Show full text]
  • GLAM January 2017
    Contents 05 MATCH THE PATCH Bold and colourful logos, brazen words and institutional crests; patches make their reappearance this season on denim jackets and jeans. Style it with a completely neutral outfit and let them do the talking. 12 WILD FOR PRINTS Abstract, animalistic or floral, it s all about the prints to brighten up the pre-spring gloom. GLAM 22 THE 2017 POP QATAR'S NO. 1 FASHION MAGAZINE CULTURE GUIDE JANUARY 2017 The start of the New Year is always a good time to shake things up and try something new and unexpected. Glam presents some of the trends that are set to take 2017 by storm and how you can easily incorporate them into your style. Contents 28 DESIGNS FOR ALL WOMEN Infused with glamour and ease, designer Tadashi Shoji drapes clothes intelligently to enhance the beauty of the silhouette. 32 LUXE LONDON: A STYLISTA’S GUIDE Spend a weekend amid high fashion and ageless elegance at Mayfair 36 THE MOOD IS FESTIVE Award-winning blogger from Doha, Clumsy Chic chronicles the latest happenings, trends, places and the most coveted items you need to know about this month. 40 BREAKING STEREOTYPES IN SPORTSWEAR Fatima Batook, one of the most influential trainers in Saudi Arabia and the owner of TIMA Love life, is on a mission to make fitness a part of the lifestyle for women in the region. GLAM 52 WHEN QATAR'S NO. 1 FASHION MAGAZINE VIBRATIONS HIT JANUARY 2017 THE RIGHT NOTE Winning the most innovative body massage in the Middle East Pool & Spa Awards 2016, the Himalayan Sound ON THE COVER Therapy at St.
    [Show full text]