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The Influence of Ottoman Turkish Textiles and Costume in Eastern Europe, with Particular Reference to Hungary
m^mt&'i HISTORY, TECHNOLOGY, AND ART MONOGRAPH 4 P.S. m Ro -co 664 ;c\j no. 4 ; co |o s- I The Influence of ico Ottoman Turkish Textiles and Costume in Eastern Europe Digitized by the Internet Archive in 2012 with funding from Royal Ontario Museum http://archive.org/details/influenceofottomOOgerv The Influence of Ottoman Turkish Textiles and Costume in Eastern Europe with particular reference to Hungary History, Technology, and Art Monograph 4 The Influence of Ottoman Turkish Textiles and Costume in Eastern Europe with particular reference to Hungary Veronika Gervers Royal Ontario Museum Publication date: 5 October 1982 Suggested citation: ROM HTA Monogr. Royal Ontario Museum Publications in History, Technology, and Art The Royal Ontario Museum publishes two series in the fields of history, technology, and art: Monographs, a numbered series of original publications, and Papers, a numbered series of primarily shorter original publications. All manuscripts considered for publication are subject to the scrutiny and editorial policies of the Art and Archaeology Editorial Board, and may be subject to review by persons outside the museum staff who are authorities in the particular field involved. Royal Ontario Museum Art and Archaeology Editorial Board Chairman/Editor: A. J. Mills Associate Editor: E. J. Keall Associate Editor: M. Allodi The late Dr. Veronika Gervers was Associate Curator in the Textile Department of the Royal Ontario Museum. Cover: Detail of an embroidered cover. Turkish. 17th century. See Figures 32 and 33. Canadian Cataloguing in Publication Data Gervers, Veronika, 1939-1979. The influence of Ottoman Turkish textiles and costume in Eastern Europe (History, technology and art. -
Explores Form Possibilities in Knitwear Through Material Interactions
Contract knit Explores form possibilities in knitwear through material interactions Bachelor in Fine Arts; Fashion Design Sofie Larsson May 2015 2015.3.04 Index Abstract 1 Look book 2 Introduction to the field 18 Abstract Knitting 18 Intarsia knit 18 The focus of this degree work is on material interaction within the field of knitwear. Material combinations are often seen in fashion as a decorative effect to add shine, transparency Motive and idea discussion 19 or blocks of colour. The materials are put together as one flat material. Material interaction in fashion 19 Form in knitwear 20 This work embraces the different qualities and explores the possibilities to use material interac- tion as a way of creating form on the body. Aim 21 To achieve this, material experiments have been made to find combinations that had a big impact on each other. The materials that were found to be most suitable for this were the combination of Design method and design of experiments 22 metal and lycra yarn. This combination showed contrast in both volume and in density. The result is a collection of seven examples that is based from square knitted pieces where the Development 24 interaction changes the form of the material and the garment. Material development 24 Shape development 32 Creating form from material combination could lead to a new method of creating garments with larger form possibilities than is seen today in ready to wear knitted garments. Colour 40 Garment development 48 Lineup development 52 Result 54 Materials 55 Presentation of collection 56 Discussion & Reflection 86 References 88 Figure references 89 Appendix 1 - Critique Keywords Knitting, knitwear, fashion design, material interaction, form 1 Look book Model/ Sofia K. -
Turkish Style: a Short Review from Ottoman Clothing and Textile Design in Sixteen Century Miniatures
Current Trends in Fashion Technology & Textile Engineering ISSN: 2577-2929 Short Communication Curr Trends Fashion Technol Textile Eng Volume 1- Issue 5 - December 2017 DOI: 10.19080/CTFTTE.2017.01.555571 Copyright © All rights are reserved by Şükriye Yüksel Turkish Style: A Short Review from Ottoman Clothing and Textile Design in Sixteen Century Miniatures Şükriye Yüksel* İnönü Cad, İTÜ Gümüşsuyu Kampüsü, Turkey Submission: October 16, 2017; Published: December 04, 2017 *Corresponding author: Şükriye Yüksel, Textile Tech & Design, İnönü Cad, İTÜ Gümüşsuyu Kampüsü, No 65 Taksim, Beyoğlu, Turkey, Tel: ; Email: Abstract th In this presentation, by examination of the Turkish painting art in 16 century Ottoman thminiatures, which is the most important evidence of Turkish clothing style, to display the taste of Ottoman Turks’s clothing and the textile design in the history. Unique beauty of the textile design and printing details of the Ottoman Caftans in the 16 century miniature collection provide information about the style and technique of fabrics in the history. The aim of this presantation may be the inspiration and enlighment to the new gener- ation textile trends through past, especially driven from the samples of Turkish miniature art and expose admired colors and the design of historicKeywords: clothing. Fashion history; Miniature art; Ottoman textiles; Caftans Introduction and admired by the other Countries in the World [1]. Textiles used as diplomatic gifts, produced in the Ottoman Empire with the beauty of its unique design and colors (Figure 1-3). Figure 1: Nakkaş Osman painted, Selim II. in his royal tent, re- ceiving the commander of Ottoman Army in Belgrade. -
Framework Knitting and the Hosiery Trade
BELPER TOWN CENTRE FRAMEWORK KNITTING AND THE HOSIERY TRADE DERWENT VALLEY VISITOR CENTRE The partnership between Brettle and Ward was dissolved and George Brettles built his own factory Framework Knitting in 1834. These two firms were of considerable size. They made silk stockings for George III, George IV and Queen Victoria. and the Ward’s ceased trading in the 1930’s and Brettles in 1987. Many smaller hosiery firms provided work for local people and these were scattered around the Hosiery trade town. All these factories have closed except for Aristoc which now operates across the road in the West Mill. Circular knitting slowly superseded flatbed knitting, as it was more efficient. Today all hosiery is made this way. For more information visit Strutt’s North Mill, The Derwent Valley Visitor Centre Bridgefoot, Belper, Derbyshire, DE56 1YD Tel: 01773 880474 / 0845 5214347 BELPER NORTH MILL Email: [email protected] www.belpernorthmill.org.uk Local Interest Leaflet The existing part of Brettles factory, now De Bradelei Stores Leaflet design by Mayers Design Ltd · www.mayers-design.co.uk Number 3 Framework knitters earned a poor living, usually their on by hand. After a brief partnership with two Derby frames were hired from the hosier who was supplying hosiers, Jedediah formed a successful partnership with the yarn and selling the stockings. The framework Samuel Need, an older, experienced hosier from knitter would have to pay the rent for the frame Nottingham who was able to finance the venture. This even when there was no work. The machines were made Jedediah Strutt’s first fortune. -
Spinning and Winding Taro Nishimura
The_Textile_Machinery_Society_of_Japan_Textile_College_2-Day_Course_on_Cloth_Making_Introduction_to_Spinning_2014_05_22 Spinning and Winding Taro Nishimura 1. Introduction Since several thousand years ago, humans have been manufacturing linen, wool, cotton, and silk to be used as fibrous materials for clothing. In 繊維 (sen’i ), which is the word for “fiber,” the Chinese character 繊 (sen ) is a unit for decimal fractions of one ten-millionth (equal to approximately 30 Ǻ), while 維 (i) means “long and thin.” Usually, fibers are several dozen µ thick, and can range from around one centimeter long to nigh infinite length. All natural materials, with the exception of raw silk, are between several to several dozen centimeters long and are categorized as staple fibers. Most synthetic fibers are spun into filaments. Figure 1 shows how a variety of textile product forms are interrelated. Short fibers are spun into cotton (spun) yarns, whereas filaments are used just as they are, or as textured yarns by being twisted or stretched. Fabric cloths that are processed into two-dimensional forms using cotton (spun) yarns and filament yarns include woven fabrics, knit fabrics, nets, and laces. Non-woven fabrics are another type of two-dimensional form, in which staple fibers and filaments are directly processed into cloths without being twisted into yarns. Yet another two-dimensional form is that of films, which are not fiber products and are made from synthetic materials. Three-dimensional fabrics and braids are categorized as three-dimensional forms. This paper discusses spinning, or the process of making staple fibers into yarns, and winding, which prepares fibers for weaving. One-dimensional Two-dimensional Three-dimensional Natural Staple fibers Spun yarns Woven fabrics Three-dimensional materials Filaments Filament yarns Knit fabrics fabrics Synthetic Nets Braids materials Laces Non-woven fabrics Films Fig. -
Identifying Handmade and Machine Lace Identification
Identifying Handmade and Machine Lace DATS in partnership with the V&A DATS DRESS AND TEXTILE SPECIALISTS 1 Identifying Handmade and Machine Lace Text copyright © Jeremy Farrell, 2007 Image copyrights as specified in each section. This information pack has been produced to accompany a one-day workshop of the same name held at The Museum of Costume and Textiles, Nottingham on 21st February 2008. The workshop is one of three produced in collaboration between DATS and the V&A, funded by the Renaissance Subject Specialist Network Implementation Grant Programme, administered by the MLA. The purpose of the workshops is to enable participants to improve the documentation and interpretation of collections and make them accessible to the widest audiences. Participants will have the chance to study objects at first hand to help increase their confidence in identifying textile materials and techniques. This information pack is intended as a means of sharing the knowledge communicated in the workshops with colleagues and the public. Other workshops / information packs in the series: Identifying Textile Types and Weaves 1750 -1950 Identifying Printed Textiles in Dress 1740-1890 Front cover image: Detail of a triangular shawl of white cotton Pusher lace made by William Vickers of Nottingham, 1870. The Pusher machine cannot put in the outline which has to be put in by hand or by embroidering machine. The outline here was put in by hand by a woman in Youlgreave, Derbyshire. (NCM 1912-13 © Nottingham City Museums) 2 Identifying Handmade and Machine Lace Contents Page 1. List of illustrations 1 2. Introduction 3 3. The main types of hand and machine lace 5 4. -
A History of Woolcombing, Yarn Spinning & Framework Knitting In
A HISTORY OF WOOLCOMBING, YARN SPINNING & FRAMEWORK KNITTING IN LOCAL VILLAGES BY SAMUEL T STEWART – MAY 2020 1 EXTRACTS FROM THE REPORTS IN PART 3 2 CONTENTS PART 1 – PAGE 4 A SYNOPSIS OF THE WOOL COMBING INDUSTRY BASED MAINLY ON RESEARCH CARRIED OUT BY THE AUTHOR ON THE SHERWINS’ OF COLEORTON PART 2 – PAGE 7 THE FRAMEWORK KNITTING INDUSTRY PART 3 – PAGE 13 REPORTS FROM THE COMMISSIONERS’ ON FRAMEWORK KNITTERS IN LEICESTERSHIRE, CARRIED OUT BY ORDER OF THE HOUSE OF LORDS IN 1845 - Reports from Belton (page 14) - Reports from Whitwick (page 17) - Report from Osgathorpe (page 32) - Reports from Thringstone (page 33) FURTHER RECOMMENDED READING – FRAMEWORK KNITTING BY MARILYN PALMER SHIRE LIBRARY © Samuel T Stewart – May 2020 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical or otherwise without first seeking the written permission of the author 3 PART 1 A SYNOPSIS OF THE WOOL COMBING INDUSTRY BASED ON RESEARCH CARRIED OUT ON THE SHERWINS’ OF COLEORTON The author has written a book entitled “The Coleorton Sherwins’ 1739-1887” from which certain parts of the following are taken. This is on the author’s website as a free to down load and read pdf doc. In order to understand the Framework Knitting industry which features later, it is necessary to first understand something about the production of the raw material (yarns) used in the knitting process. It should be noted that the word “Hosier” is a general description for a manufacturer involved in the hosiery industry. -
Recording, Digital Restoration Andtextile Facsimile
RECORDING, DIGItaL RESTORatION AND TEXTILE FacsIMILE OF A VERDURE taPESTRY at MUSEO CERRALBO, MADRID Location: Stove room at Museo Cerralbo, Madrid Author: Anonymous Dated: 18th century Mesurements: 283 x 437 cm Materials: Wool and silk Description: Tapestry fragment with a central composition consisting in two birds (a ma- caw and a peacock), framed with a traditional verdure decoration of plants, flowers and trees aligned to the vanishing point, with a landscape of mountains and a stream in the distance. CONTENTS 1.The tapestry at the Cerralbo Museum 3 2. Moving the Tapestry 4 3. Photographic documentation before cleaning process 6 4. Condition Report 9 5. Treatment 13 6. Colour Digitalisation 15 7. Composite Image Stitching 18 8. Lucida 3D Scanner 19 9. Digital Restoration 22 10. Printing 25 11. Colour recovery 36 1. THE TAPESTRY AT THE CERRALBO MUSEUM The Cerralbo Museum was originally a palace, built in the 19th century by the Marquis of Cerralbo, established as both a family residence and a gallery in which to exhibit their collection. The Marquis donated his palace, along with its collections, to Patrimonio Nacional. Due to poor conditions, some pieces had to be removed from their original location within the palace. This was the case for this verdure tapestry which could be found hanging as a curtain ‘in order to create a dark and romantic atmosphere’. The Instituto del Patrimonio Cultural de España commissioned Factum Arte to make a facsimile that would hang in the tapestry’s original location. The project was divided into five steps: -Cleaning the original tapestry at the Real Fábrica de Tapices. -
India's Textile and Apparel Industry
Staff Research Study 27 Office of Industries U.S. International Trade Commission India’s Textile and Apparel Industry: Growth Potential and Trade and Investment Opportunities March 2001 Publication 3401 The views expressed in this staff study are those of the Office of Industries, U.S. International Trade Commission. They are not necessarily the views of the U.S. International Trade Commission as a whole or any individual commissioner. U.S. International Trade Commission Vern Simpson Director, Office of Industries This report was principally prepared by Sundar A. Shetty Textiles and Apparel Branch Energy, Chemicals, and Textiles Division Address all communications to Secretary to the Commission United States International Trade Commission Washington, DC 20436 TABLE OF CONTENTS Page Executive Summary . v Chapter 1. Introduction . 1-1 Purpose of study . 1-1 Data and scope . 1-1 Organization of study . 1-2 Overview of India’s economy . 1-2 Chapter 2. Structure of the textile and apparel industry . 2-1 Fiber production . 2-1 Textile sector . 2-1 Yarn production . 2-4 Fabric production . 2-4 Dyeing and finishing . 2-5 Apparel sector . 2-5 Structural problems . 2-5 Textile machinery . 2-7 Chapter 3. Government trade and nontrade policies . 3-1 Trade policies . 3-1 Tariff barriers . 3-1 Nontariff barriers . 3-3 Import licensing . 3-3 Customs procedures . 3-5 Marking, labeling, and packaging requirements . 3-5 Export-Import policy . 3-5 Duty entitlement passbook scheme . 3-5 Export promotion capital goods scheme . 3-5 Pre- and post-shipment financing . 3-6 Export processing and special economic zones . 3-6 Nontrade policies . -
The Re-Imagining of Bradford's Collection As a Transcultural
conference papers academic and professional strands / negotiating artefacts cultural identity and the municipal gallery: the re-imagining of bradford’s collection as a transcultural representation of identity at cartwright hall 1904-2014 AUTHORS: Jemma Browne Nottingham Trent University (UK) Ana Souto Nottingham Trent University (UK) Abstract Museums have historically played an important role in the formation of cultural identities; they evolved in their current form in the late nineteenth century concurrent with the emergence of the bourgeois public sphere (Bennett, 1995). As cities have been spatially transformed through time by the layering of new and existing expressions of cultural identity, galleries and museums have struggled to retain their meaning as representational spaces. The municipal gallery at Cartwright Hall in Bradford presents a timely case study demonstrating how it ensured that its collection evolved to reflect the changing communities in the city and how, by re-imagining the idea of heritage, it has created a transcultural representation of identity. Keywords: cultural identity, collective memory, empire, transcultural space 51 conference papers academic and professional strands / negotiating artefacts cultural identity and the municipal gallery: the re-imagining of bradford’s collection as a transcultural representation of identity at cartwright hall 1904-2014 1. Identity formation: museums and the public sphere Museums and galleries are important cultural spaces within our cityscapes; they present unique opportunities to shape and represent multiple cultural identities, disseminating ideas and memory through both their exhibitions and the architectural form they take. This paper uses the example of Cartwright Hall to explore how museums have used multi-temporal strategies to communicate collective memory and represent cultural identities through time. -
And Interdisciplinary Nature of Textile Design Research of Linseed Fibres
Multi- and interdisciplinary nature of textile design research of linseed fibres Tiina Härkäsalmi* and Ilpo Koskinen** Aalto-University, School of Art and Design, Department of Design Hämeentie 135 C, 00560 Helsinki, Finland *e-mail: [email protected] **e-mail: [email protected] Abstract: In the future there will be an increasing need for renewable, recyclable and environmentally safety fibres, which are compatible with existing, cotton-based textile manufacturing technologies and are competitive on price and quality. In this study as a raw material the linseed fibres are used, which is almost an unexploited resource for high value end uses. This paper describes a multidisciplinary design study that consisted of three parts, a microbiological study that devel- oped a Fusart®-method for cottonizing linseed fibres, a production model study aimed at showing how the fibres could be processed in an industrial scale, and a fibre quality evaluation study. In practise it means that lustrous and soft fibres, light coloured can be produced cost-efficiently and environmentally-consciously for textiles and potential for producing high-quality bio-based mate- rial with tailored properties. Keywords: design research, material research, fungus, textile design 1. Introduction The objective of this study is to explore the suitability of linseed elementary fibres in new textile and technical applications and creating prerequisites for product design and productization. The study is based on a multidisciplinary approach to the use of flax elementary fibres where, rather than tradi- tional long-linen textile processing technology, short-fibre methods are employed. Special attention was paid to the quality requirements of rotor spinning. -
Australian Superfine Wool Growers Association Inc
AustrAliAn superfine Wool Growers’ Association inc. AustrAliAn superfine Wool Growers Association inc. AnnuAl 2015-2016 www.aswga.com 1 | Annual 2015/2016 Australian Wool Innovation On-farm tools for woolgrowers Get involved in key initiatives such as: • Join an AWI-funded Lifetime Ewe Management group to lift production - www.wool.com/ltem • Join your state’s AWI extension network - www.wool.com/networks • Benchmark your genetic progress with MERINOSELECT - www.wool.com/merinoselect • Reducing wild dog predation through coordinated action - www.wool.com/wilddogs • Training shearers and woolhandlers - www.wool.com/shearertraining • Enhanced worm control through planning - www.wool.com/wormboss • Getting up to scratch with lice control - www.wool.com/lice • Flystrike protection and prevention - www.wool.com/fl ystrike VR2224295 www.wool.com | AWI Helpline 1800 070 099 Disclaimer: Whilst Australian Wool Innovation Limited and its employees, offi cers and contractors and any contributor to this material (“us” or “we”) have used reasonable efforts to ensure that the information contained in this material is correct and current at the time of its publication, it is your responsibility to confi rm its accuracy, reliability, suitability, currency and completeness for use for your purposes. To the extent permitted by law, we exclude all conditions, warranties, guarantees, terms and obligations expressed, implied or imposed by law or otherwise relating to the information contained in this material or your use of it and will have no liability to you, however arising and under any cause of action or theory of liability, in respect of any loss or damage (including indirect, special or consequential loss or damage, loss of profi t or loss of business opportunity), arising out of or in connection with this material or your use of it.