View allAll Photos Tagged Textiles
Two different pieces of textile design, relating to a 'Colour, Surface, Texture and Pattern Project', in which I had to explore and represent a "Discarded Glove".
The piece of textiles on the left was just a trial run, and getting to know the sewing machines. However I feel it has really good graphic quality, and relates to how text is read and set out, significantly.
Visits to a textile museum and the workshop of the Quito School woodworkers in San Antonio de Ibarra, Ecuador.
Located in Lindale, GA near Rome, Lindale Mill is an old textile mill that opened in 1896. It was later sold to Pepperell Manufacturing, giving the community and school the name “Pepperell." The mill employed 1,393 people and produced 1/7 of all textiles in Georgia before closing in 2001. A few movies have been filmed here recently. The mill is a fascinating place to visit.
Follow Sussman Imaging on Facebook at www.facebook.com/sussmanimaging
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
Weaving machines play the most important role in textile machinery as they are used to weave different kinds of natural, chemical and blended yarns into fabrics. Weaving looms can be divided into shuttle looms and shuttles looms, and shuttles looms are consist of rapier looms, air jet looms, water jet looms and projectile looms.
In the recent 20 year, weaving machinery in China has experienced a leaping development; the manufacturing ability in China nowadays is close to the level of European countries, and Sino Textile represents the highest level of Chinese weaving machines.
As an integrated supplier of weaving machines, we are now providing high speed rapier looms, low speed rapier looms, jacquard looms, terry towel looms, industrial fabric looms and air jet looms. These weaving looms have the features of Europeans looms, and also contain domestic design and technique. Diversified product range, reasonable price and first class quality have enabled us to provide specialized and right solutions for both domestic and overseas customers.
We are committed to become the leading supplier of weaving equipments and solutions in the world.
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. March: Applique house portraits.
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.
Tricots Chanel textile samples, 1929
Printed silk and wool crepe
In the late 1920s, Chanel was spending time in Britain due to her relationship with the Duke of Westminster. She opened a salon in Mayfair and was considering possible British business ventures. In February 1929, she registered these textile designs in various colourways. They were the only designs that she ever registered in Britain.*
From the exhibition
Gabrielle Chanel: Fashion Manifesto
(September 2023 to March 2024)
The first UK exhibition dedicated to the work of French couturière, Gabrielle 'Coco' Chanel. It charted the establishment of the House of CHANEL and the evolution of her iconic design style which continues to influence the way women dress today.
[*V&A]
Unless otherwise noted, items are from Chanel
Taken in the Victoria & Albert Museum
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. The work is on show at Carlisle Archives Centre during March. January-March 2017.
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...
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.