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Curly doll Fabric doll Tilda doll coral turquise blonde color Soft doll Cloth doll Textile doll Rag Interior doll by Master Olga P: www.etsy.com/listing/384804442/curly-doll-fabric-doll-til...
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September 2014.
2x A3 Samples for Pattern Reconstruction project.
Transfer paper/Bondaweb/Reverse appliqué/Machine stitching
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.
Full swing textiles collects retro fabrics for new generation users, these old clothes are versatile, comfortable, available all sizes and fashionable.
Different materials carry different messages: wire is sexy; rusty wire is art; textile is women’s work.
03/02/2026. Castlemorris, UK. The Princess of Wales during a visit to Melin Tregwynt, a woollen mill weaving traditional Welsh designs in a remote wooded valley on the Pembrokeshire coast. Her Royal Highness met Melin Tregwynt’s director, Louise Clarke and then spent time with weavers at the loom and learned about the skills required for Welsh double cloth weaving, which Melin Tregwynt is renowned for. Picture by Andrew Parsons / Kensington Palace
Our first assignment in Intro to Textiles: a sketchbook in which we'll record our successes and (ulp!) failures during the semester. We whipped these together in about 2-1/2 hours! I used fabric from a fellow Spoonflower designer for the front.
Textile Field by Ronan & Erwan Bouroullec in the Rafael Court of the V&A with the support of Kvadrat
London Design Festival 2011
©Susan Smart
Visits to a textile museum and the workshop of the Quito School woodworkers in San Antonio de Ibarra, Ecuador.
Crocheted and felted wool in hyperbolic form. Fringed with champagne eyelash fiber. Edged with baroque freshwater pearls. Needle felted focal point with glass beads.
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Textile Field by Ronan & Erwan Bouroullec in the Rafael Court of the V&A with the support of Kvadrat
London Design Festival 2011
©Susan Smart
This was a textile assignment from my sophomore year. We had to do about 300 sketches of different types of things; abstract, fluid, typographic, etc. Then pick 3 to use. We then created rules for ourselves, such as, place the first sketch in the center, duplicate and rotate 90 degrees to the left and move down 3 inches and to the right 1 in. Repeat. After the rules were created, we then followed the rules to create the designs.
These pages showcase my Textiles A-Level project where I designed, drafted and created an Elizabethan inspired outfit.
There are several elements to the outfit- Collar , Cape, Over-Sleeves, Cuffs, Corset, Outer Skirt and three under skirts ( two of which are also decorated).
The key elements of the project evolved from my 1910’s inspired project and utilised natural dyeing, tessellated patterns and natural forms.
These photos show a close up of the collar being worn with hand stitched beading , the tree collar and the colour change between the natural dyes as well as the William Morris inspired pattern I designed for the front central motif and the swirls that developed to unify the garment which were hand painted onto the outfit.