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Left to right:
3 unknown; Tom Berry; unknown; Walter Townend; Phyllis Bentley; unknown.
Confederation of Textile Societies meeting, held at Halifax, West Yorkshire, 26 May 1962. Sadly no record available of names against photos. DW Holdsworth 2008.
I have designed and made this dress while I was doing GCSE where I was introduced to pattern cutting and how to sew dresses. The photographs show the development towards my final piece and research pages on textiles.
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Product name: Chenille
Export Market: Worldwide
WhatsApp/Viber: +20 120-438-1590
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CANAVA for Textile Products:
We manufacture and supply finished home textile products and fabrics worldwide to the very best retailers and brands.
Canava is continually developing new collections and fabrics with the highest quality textiles in the industry. Operating twenty-four hours a day, six days a week. Our team is here to solve your most challenging textile needs.
At Canava Textile we believe strongly in encouraging innovation at all levels of the organization.
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We Manufacture:
Upholstery fabrics
Digital printing
Ready made and made to measure curtains
Cushions and accessories
Bed linen
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Custom textile manufacturing:
We have a state of the art design and manufacturing facility and can design, print and manufacture production quality samples within 24 hours and, additionally, offer short lead-time production and super-fast turnaround.
Some material I'm using for the textile pieces I'm making for the Contemporary Textile Group's mail exchange. The piece of paper that's in the pic is 5 x 7", so I can check regularly whether my textile postcards will be the right size.
Історій про одяг
Текстильна книга
Автор сторінки: Ірина Гамеза
Розмір: 29x30cм
Рік створення: 2020
DSC_0233
OLYMPUS DIGITAL CAMERA
Judith Lunnemann
ID:110-238-1389
31/01/2013
Textile experimentation to inform design of the body form. I used, an embellisher, pleated tissue, and heated a range of materials using an iron and heat gun.
From Adrian Wilson’s collection of textile trademark stamp materials, photographed at his talk for the Type Directors Club, “TEXTile: Typography of the 19th Century Textile Trade”, Jan 28, 2010
Colourful textiles made by the Wayuu, a group of indigenous South American people (Riohacha, Colombia). Photo by Simon Raven ©
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Just Pinned to textile.: Lately I have become re-obsessing with mustard. It all started with a linen tee-shirt that I picked up on holiday. And as with all my obsessions it usually begins in the wardrobe and takes over the… ift.tt/29e30WZ
Apex Dye Stuff includes broad ranges in Disperse Dyes, Reactive Dyes, Pigments Dyes and Vat Dyes, Textile Dyes, Sailene
Maya backstrap loom textile designs on huipils (see below) which, although modern (1970s), evoke similar designs on women's garments carved on Late Classic stone monuments and plaster panels during the Late Classic 1200 years ago. The simplest triangle designs, like several shown in this batch, could easily be popular traditional designs copied and learned by rote by Maya weavers that originated at the height of Maya Late Classic culture 600-700 AD. Chip Morris even discovered a maya date coded in the design of a 100 year old huipil from Chamula, Chiapas.
General information: Maya huipils are traditional, hand-woven tunics that encode a complex, visual language reflecting the weaver’s identity, community, and cosmology. They function as wearable history, using specific colors, geometric patterns, and motifs to signify regional origin, marital status, social standing, and deep, ancestral connections to nature.
Key Information Coded in Maya Huipils
Regional and Community Identity: Distinctive color palettes, weaving patterns, and specific collar shapes (round or square) identify which community the wearer belongs to.
Cosmological and Spiritual Beliefs:
Diamonds/Squares: Often represent the universe, the four cardinal points, or the earth.
Zig-zags: Symbolize mountains, volcanoes, or the feathered serpent.
Colors: Red often represents the East, blood, and the sun; white represents the North and spirituality; black represents the West and death; blue symbolizes water and the sky.
Nature and Agricultural Motifs: Plants like corn, seeds, and animals such as the quetzal, jaguars, hummingbirds, and butterflies are frequently woven, representing the agricultural, natural world.
Mythology and History: Designs can depict ancestral stories and traditional myths, acting as a non-verbal communication of cultural heritage.
Personal Narrative: The complexity of the embroidery or weaving may indicate the skill of the artisan, with complex designs often known only to master weavers.
These garments, often made using a backstrap loom, are regarded as living, symbolic representations of the wearer’s soul and connection to the Earth.