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Work from Carleton Day Centre's Wednesday Art Group. A partnership project between Carlisle Day Services and Prism Arts. In this block of sessions we're exploring textiles and our theme is the Natural World. January-March 2017.
An employee works at a textile plant in Liaocheng, Shandong province in this picture taken March 26, 2008. China's textile and garment exports in February dropped 32.9 percent from the previous month, largely due to weakening U.S. and European demand and the severe winter storms, customs authorities said, Xinhua News Agency reported. Picture taken March 26, 2008. REUTERS/China Daily (CHINA). CHINA OUT. NO COMMERCIAL OR EDITORIAL SALES IN CHINA.
The city of Manchester in Meriwether County was founded in 1907 when the Atlanta, Birmingham, and Atlantic Railroad decided to extend their rail lines to form a junction of three lines. Fuller E. Callaway, a textile manufacturer from LaGrange, brought cotton production to the small community when he erected the Manchester Cotton Mills, Inc. in 1908. Following the mills establishment, the new city of Manchester was then incorporated on August 16, 1909, to be named after the manufacturing town in England.
With the railroad and the cotton mill, the town of Manchester quickly grew, drawing in workers from the surrounding countryside. Because of the influx of workers, the town quickly encountered a housing crisis. Callaway helped create the Manchester Development Company to provide mill housing and other city development infrastructure. Businesses, schools, churches, and recreational centers were created, making Manchester one of the largest cities in Meriwether County. Many of the mill houses can still in use today. Overall, the Manchester Cotton Mill Village provided housing, recreation, and a sense of community for the mill workers and their families. Early textile manufacturers encouraged mill village life as a means to entice farmworkers to move off farms and live closer to the factories where they would work.
The Manchester mill was located northwest of Main Street across the railroad tracks. The Manchester Cotton Mills, Inc. was owned and operated by the Callaway family with the executive offices located in LaGrange, Georgia. Originally steam-powered, the mill employed around 500 workers to work their impressive 20,800 spindles, 472 looms, and 90 carding machines. The mill specialized in producing cotton duck, sateens, twills, and corduroys until the 1930s. The Callaway family’s careful manufacturing practices and planning in the 1920s allowed their various mills operations, of which the Manchester Cotton Mills was a part, to survive through the Great Depression.
In 1932, the Manchester Cotton Mills Inc. was merged with the rest of the Callaway family holdings to create the Callaway Mills Company. At the same time, the Callaways upgraded many of their factories, and the newly renamed Manchester Plant was converted from steam power to electric by 1935. Products made by Manchester Plant during this time increased to include chafer fabrics, drills, dobby weaves, and novelty fabrics in worsted blends. The mill continued operations through the Great Depression and through both World War I and World War II. Starting in the 1950s, the mill started producing drapery & upholstery fabrics, laundry textiles, drills, sheeting, and twills. At its height, the facility featured 30,480 spindles, 600 looms, and 223 carding machines.
In the 1968, Deering Milliken, a leading textile innovator of new Stabilon laid scrim and Millimatic weft insertion warp knitting technologies based out of South Carolina, bought the plant. Some of Milliken’s products were used in duct tape, roofing membranes, and construction panel manufacturing. Production at Manchester Plant continued until it closed its doors in 2002. The Mill burned down in 2013 in an arson case but visitors can still see the twin smokestacks. Part of the building did survive and has been renovated into an art gallery and studio.
Textiles Project. Brief: Memory and Surface.
Batik and Machine embroidery.
A3 Sketchbook. January 2014
Large cashmere and silk throw from India. Beautiful olive green and red paisley pattern throughout.
$470
Visits to a textile museum and the workshop of the Quito School woodworkers in San Antonio de Ibarra, Ecuador.
A bag I bought in Cusco, at the central square. There were the most beautiful shop and when I got in, it was a paradise, full of old and antique textiles.
Large cashmere and silk throw from India. Beautiful olive green and red paisley pattern throughout.
$470
TEXTILES AND TECH — Extension agents, program assistants and family and consumer sciences teachers gather to learn about using STEM — science, technology, engineering and math — in textiles projects. (Division of Agriculture photo.)
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.