View allAll Photos Tagged Textiles
Nike Air Max 98, GS, Size 6Y, University Red, Summit White, BV4872-600, Running Shoes, UPC: 00882801504938, 2018, kid's edition, Leather textile and synthetic leather, white mesh upper, Max Air Unit, Soft foam cushions, University Red patent and smooth leather panels, striped lace webbing, multi-window Max Air layer, metallic piping, low top running shoes, lace up closure, Nike Swoosh Branding, Padded tongue, NIKE Air Max logo graphic detail, Cushioned inner sole, Retro silhouette, fluid design lines, Traction rubber air bubble outsole, Full length visible Air Unit, AM98
Felt making, silk paper making, metal embossing, Lazertran, Angelina fibres and lots of stitch work in this detial of the wall hanging.
Textile workers from L'Amour Inc. demand that the Minister of Employment intervene in their case of unjust dismissal without compensation. FWSG members help to organize the Filipino workers to join the rally and fight for their rights.
Ms.Sachiko Yatani makes these fibers from wild plants like kuzu(kudzu vine) and choma(ramie).
She weaves these wild fibers into beautiful fine textiles.
Get POS Software for your textile business to automate billing, purchase, and inventory handling operations! Since our solution is equipped with certain modules that make one execute numerous functions to improve the profitability and efficiency of your business.
Today’s consumers are more demanding than ever. They want to shop whenever and however they please through any channel—without sacrificing choice, convenience or cost. Getting your multi-channel strategy right can deliver substantial and tangible results for your retail business.
The Innervex TexLogic software is a one-stop software solution for automating fashion apparel, textiles, readymade garments, kids wear and clothing retail POS. Managing single as well as multiple apparel stores including online store made easy as never before. It comforts your work by managing the inventory in the form of size, colour, design and article. It also provides an interface for Job Work like alteration, tailoring and sole fixing. It enables you to face the challenges and tough competition from large retail format.
The Innervex TexLogic is fast in implementation and easy to learn and smooth in operation. Most of our customers have increased their profit and maximized control over their business in just a few weeks.
For software, reach us by
For Contact details:
Phone: +91 936 088999
Email: info@innervex.com
Website: www.innervex.com/products_tex..
Textile Innovation Workshop 1 - From Invention to Consumption: electronic textiles, C4CC, London (thanks to Melissa Coleman for taking pix for me).
Adidas Top Ten High Miami Hurricanes, Men’s Size 10, White, Green, EF2516, UPC: 192618517886, EAN: 0192618517886, Miami Hurricanes version, leather upper, Green and orange leather on ankle collar, leather on toecap tongue and ankle padding, Flexible Cupsole, full-grain leather upper, Molded EVA sock liner, Padded ankle collar, herringbone traction, full grain leather upper, iconic three-stripe logo, increased ankle support, Smooth textile lining, PureMotion, rubber outsole, basketball sneakers, eBay store, Authenticate, reddealsonline, redd3413,
Історій про одяг
Текстильна книга
Воркшоп творчого дуету Марії Лук’янової і Антоніни Мельник «Крафтивізм», що проходив з 16 по 23 березня, звертався до ідеї текстильного виробу, як маніфесту переконань. Протягом багатьох років Антоніна і Мрія практикують крафтивізм для відстоювання ідей рівності. Антоніна і Мрія є учасницями швейних кооперативів Швеми і ReSew, які вибудовуються на горизонтальних відносинах і опікуються питаннями прав людини, використовуючи текстиль в якості медіа.
В рамках робочої сесії художниці познайомили всіх зацікавлених з поняттям крафтівізму і запропонували реалізувати спільну текстильну книгу на тему стереотипів в одязі. Початкова пропозиція Антоніни і Марії стосувалося виявлення стереотипів, пов'язаних з гендерною ідентичністю, коли хтось визначає твою ідентичність до того як ти виглядаєш, або проектує на тебе якийсь свій стиль і смак. Пізніше тема була розширена до стереотипів пов'язаних з одягом, де гендерна ідентичність може бути окремим випадком поряд з іншими прикладами. Ця зміна була запропонована бібліотекою, з ідеєю розширити аудиторію, і дати можливість всім бажаючим взяти участь в воркшоп. Зміна була обговорена і погоджена з усіма сторонами. Художниці анонсували: «Це можуть бути смішні або драматичні ситуації, робота з таким матеріалом може мати психотерапевтичний ефект. Текстильна книга - форма якою обмежується це висловлювання, але техніка може бути змішаною: малюнок на папері чи текстилі в поєднанні з колажем з клаптиків текстилю чи готового одягу, ниток, стрічок, ґудзиків, застосовуючи машинну строчку чи ручне зшивання. способів може бути багато, тільки дозвольте собі пофантазувати».
Завданням воркшопу було не тільки, і не стільки представити новий метод або навчити шити, але створити неформальну атмосферу для відвертої розмови про гноблення, які можуть траплятися на, здавалося б, такому побутовому рівні, як одяг. Художниці хотіли зібрати подібні історії, і оформити їх у крафтивістське висловлювання. Учасниці і учасники активно долучалися до обміну історіями і спільної рефлексії. У воркшопі взяли участь не тільки ті, хто вміли шити, учасниці, допомагали одна одній, що було досить важливим і сформувало це відчуття довіри в колективі.
Учасники створювали індивідуальні висловлювання у вигляді текстильних колажів, на шматках тканини однакового формату, підготовлених організаторами. Ці окремі текстильні колажі, склали сторінки текстильної книги, яка була зібрана і оформлена Антоніною і Марією, після того як всі «сторінки» були закінчені.
За додатковою інформацією, звертайтесь
ел. адреса: info(аt)openplace.com.ua
тел.: + 38 050 186-90-95
Приєднуйтесь до нас
www.facebook.com/OpenPlace.ArtistRunSpace
www.youtube.com/OpenPlaceComUa
www.youtube.com/OpenPlaceChannel
DSC00341
- MIYA Textile 2017 Collection www.miyatextile.com #fashion #apparel #dress #clothes #womanfashion #beauty #women #girlfashion #girltrend #fashiontrend #fashionblogger #fashionshow #fashionista #fashionable #fashionweek #tagblender #fashiondiaries #model #beauti #photooftheday #ballet #ballerina #look #modeling #style #dance #classy
I've always loved textiles and clothing design. When I was 11, I designed these 1968 dresses and my Mom, knowing I needed a joint/safe project sewed them all meticulously for me. Since then a younger cousin wore them as hand-me-downs and loved them too. She even thought the next generation of her grand-nieces probably wore them and wore them out. So to our surprise she recently found them in her Mother's (my aunt's) closet and returned them all to me :>)) This eases the pain of turning 60 today (somewhat)!!
Tullie Textiles group meets on the second Sunday of the month at Tullie House Museum and Art Gallery between 2-4 pm. Each month we see a different object from the collections and I demonstrate a different textile skill or technique. The group is free to attend. June: Beaded Buttons
We also had a selection of work from a participatory project run by artist Carol Parker called 'From Lincolnshire and Back.'
Based on matchbox label scans by CounterClockwise. Ea
Based on matchbox label scans by CounterClockwise. Each image becomes part of a mural for my home.
Based on matchbox label scans by CounterClockwise. Each image becomes part of a mural for my home. COunterClockwise has a wonderful set of scans here : www.flickr.com/photos/xclockwise/sets/72157602593504250/
Where can I go to get old things? Oh, great.
Toronto Vintage Clothing & Textile Show
Toronto, ON
March 1, 2008
in blog form:
sweetiepiepress.blogspot.com/2008/03/vintage-thing-textil...
Picnic on a Riverbank - 1873–74
Artist: Paul Cézanne (French, 1839–1906)
Encompassing close to 2,000 objects, the Gallery’s collection of European art comprises paintings, sculpture, textiles, and a small but distinguished group of decorative arts, spanning the 9th through the 19th centuries. The painting collection is panoramic in range, with particular strength in Italian art of the early Renaissance. Featuring one of the largest and finest groups of 13th- and 14th-century Tuscan paintings in the world, it also contains a significant number of 15th-century Sienese paintings and such acknowledged masterworks as Gentile da Fabriano’s Virgin and Child (ca. 1424–25), Antonio Pollaiuolo’s Hercules and Deianira (ca. 1475–80), and Pontormo’s Madonna del Libro (ca. 1545–46).
The early Italian holdings are complemented by Northern Renaissance art, including Hieronymus Bosch’s Allegory of Intemperance (ca. 1495–1500) and Hans Holbein’s Hanseatic Merchant (1538), along with 17th-century Dutch landscapes and portraiture, highlighted by Frans Hals’s De Heer Bodolphe and Mevrouw Bodolphe and a select group of paintings and oil sketches by Peter Paul Rubens and Anthony van Dyck. Nineteenth-century works include important paintings by Eugène Delacroix and Jean-Léon Gérôme, strong groups of paintings by Jean-Baptiste-Camille Corot, Claude Monet, Edgar Degas, Édouard Vuillard, and Paul Cézanne, as well as Édouard Manet’s Young Woman Reclining in Spanish Costume (1862–63) and Vincent van Gogh’s seminal Night Café (1888).
artgallery.yale.edu/research-and-learning/curatorial-area...
_______________________________________
Yale University Art Gallery is the oldest college art museum in America. The Gallery’s encyclopedic holdings of more than 250,000 objects range from ancient times to the present day and represent civilizations from around the globe. Spanning a block and a half of the city of New Haven, Connecticut, the Gallery comprises three architecturally distinct buildings, including a masterpiece of modern architecture from 1953 designed by Louis Kahn through which visitors enter. The museum is free and open to the public.
www.archdaily.com/83110/ad-classics-yale-university-art-g...
Yale University’s School of Architecture was in the midst of pedagogical upheaval when Louis Kahn joined the faculty in 1947. With skyscraper architect George Howe as dean and modernists like Kahn, Philip Johnson, and Josef Albers as lecturers, the post-war years at Yale trended away from the school’s Beaux-Arts lineage towards the avant-garde. And so, when the consolidation of the university’s art, architecture, and art history departments in 1950 demanded a new building, a modernist structure was the natural choice to concretize an instructional and stylistic departure from historicism. Completed in 1953, Louis Kahn’s Yale University Art Gallery building would provide flexible gallery, classroom, and office space for the changing school; at the same time, Kahn’s first significant commission signaled a breakthrough in his own architectural career—a career now among the most celebrated of the second half of the twentieth century.
The university clearly articulated a program for the new gallery and design center (as it was then called): Kahn was to create open lofts that could convert easily from classroom to gallery space and vice versa. Kahn’s early plans responded to the university’s wishes by centralizing a core service area—home to the stairwell, bathrooms, and utility shafts—in order to open up uninterrupted space on either side of the core. Critics have interpreted this scheme as a means of differentiating “service” and “served” space, a dichotomy that Kahn would express often later in his career. As Alexander Purves, Yale School of Architecture alumnus and faculty member, writes of the gallery, “This kind of plan clearly distinguishes between those spaces that ... house the building's major functions and those that are subordinated to the major spaces but are necessary to support them.” As such, the spaces of the gallery dedicated to art exhibition and instruction are placed atop a functional hierarchy, above the building’s utilitarian realms; still, in refusing to hide—and indeed, centralizing—the less glamorous functions of the building, Kahn acknowledged all levels of the hierarchy as necessary to his building’s vitality.
Within the open spaces enabled by the central core, Kahn played with the concept of a space frame. He and longtime collaborator Anne Tyng had been inspired by the geometric forms of Buckminster Fuller, whom Tyng studied under at the University of Pennsylvania and with whom Kahn had corresponded while teaching at Yale. It was with Fuller’s iconic geometric structures in mind that Kahn and Tyng created the most innovative element of the Yale Art Gallery: the concrete tetrahedral slab ceiling. Henry A. Pfisterer, the building’s structural engineer, explains the arrangement: "a continuous plane element was fastened to the apices of open-base, hollow, equilateral tetrahedrons, joined at the vertices of the triangles in the lower plane.” In practice, the system of three-dimensional tetrahedrons was strong enough to support open studio space—unencumbered by columns—while the multi-angular forms invited installation of gallery panels in times of conversion.
Though Kahn’s structural experimentation in the Yale Art Gallery was cutting-edge, his careful attention to light and shadow evidences his ever-present interest in the religious architecture of the past. Working closely with the construction team, Kahn and Pfisterer devised a system to run electrical ducts inside the tetrahedrons, allowing light to diffuse from the hollow forms. The soft, ambient light emitted evokes that of a cathedral; Kahn’s gallery, then, takes subtle inspiration from the nineteenth-century neo-Gothic gallery it adjoins.
Of the triangulated, concrete slab ceiling, Kahn said “it is beautiful and it serves as an electric plug." ] This principle—that a building’s elements can be both sculptural and structural—is carried into other areas of the gallery. The central stairwell, for example, occupies a hollow, unfinished concrete cylinder; in its shape and utilitarianism, the stairwell suggests the similarly functional agricultural silo. On the ceiling of the stairwell, however, an ornamental concrete triangle is surrounded at its circumference by a ring of windows that conjures a more elevated relic of architectural history: the Hagia Sophia. Enclosed within the cylinder, terrazzo stairs form triangles that mimic both the gallery’s ceiling and the triangular form above. In asserting that the stairs “are designed so people will want to use them,” Kahn hoped visitors and students would engage with the building, whose form he often described in anthropomorphic terms: “living” in its adaptability and “breathing” in its complex ventilation system (also encased in the concrete tetrahedrons).
Given the structural and aesthetic triumphs of Kahn’s ceiling and stair, writing on the Yale Art Gallery tends to focus on the building’s elegant interior rather than its facade. But the care with which Kahn treats the gallery space extends outside as well; glass on the west and north faces of the building and meticulously laid, windowless brick on the south allow carefully calculated amounts of light to enter.
Recalling the European practice, Kahn presents a formal facade on York Street—the building’s western frontage—and a garden facade facing neighboring Weir Hall’s courtyard.
His respect for tradition is nevertheless articulated in modernist language.
Despite their visual refinement, the materials used in the gallery’s glass curtain walls proved almost immediately impractical. The windows captured condensation and marred Kahn’s readable facade. A restoration undertaken in 2006 by Ennead Architects (then Polshek Partnership) used modern materials to replace the windows and integrate updated climate control. The project also reversed extensive attempts made in the sixties to cover the windows, walls, and silo staircase with plaster partitions. The precise restoration of the building set a high standard for preservation of American modernism—a young but vital field—while establishing the contentiously modern building on Yale’s revivalist campus as worth saving.
Even with a pristinely restored facade, Kahn’s interior still triumphs. Ultimately, it is a building for its users—those visitors who, today, view art under carefully crafted light and those students who, in the fifties, began their architectural education in Kahn’s space. Purves, who spent countless hours in the fourth-floor drafting room as an undergraduate, maintains that a student working in the space “can see Kahn struggling a bit and can identify with that struggle.” Architecture critic Paul Goldberger, who studied at Yale a decade after Kahn’s gallery was completed, offers a similar evaluation of the building—one echoed by many students who frequented the space: “its beauty does not emerge at first glance but comes only after time spent within it.”
.