Pub Date : 2023-02-22DOI: 10.1080/14759756.2023.2170307
J. Halbert
Abstract This article deals with the production of hand-knitted fashionable clothing in the British knitwear sector during the so-called designer boom of the 1980s. Drawing on a variety of sources including contemporary newspapers, investigative accounts, television documentaries, and instruction manuals, alongside newly-collected oral testimony from knitwear designers and their knitting outworkers (knitworkers), it explores creativity and the co-dependencies of manufacture and design in this sector. It challenges the pervading stereotypes that have long haunted the homework sector in British fashion, and argues that in knitwork, knitters have powerful creative agency over the clothes they produce. It demonstrates that far from being mute and obedient producers, knitworkers have made a significant contribution to the history of British knitwear, not only as skilled and talented makers but as influencers of its design heritage too. In this way, this article reconceptualises our understanding of what is meant by creativity in manual production and offers new ways of illuminating the significant creative exchange between maker and designer which until now has been neglected in the literature on both homeworking and the history of knitting more generally.
{"title":"Knitwork: Creativity and the Manufacture of British Designer Knitwear in the 1980s","authors":"J. Halbert","doi":"10.1080/14759756.2023.2170307","DOIUrl":"https://doi.org/10.1080/14759756.2023.2170307","url":null,"abstract":"Abstract This article deals with the production of hand-knitted fashionable clothing in the British knitwear sector during the so-called designer boom of the 1980s. Drawing on a variety of sources including contemporary newspapers, investigative accounts, television documentaries, and instruction manuals, alongside newly-collected oral testimony from knitwear designers and their knitting outworkers (knitworkers), it explores creativity and the co-dependencies of manufacture and design in this sector. It challenges the pervading stereotypes that have long haunted the homework sector in British fashion, and argues that in knitwork, knitters have powerful creative agency over the clothes they produce. It demonstrates that far from being mute and obedient producers, knitworkers have made a significant contribution to the history of British knitwear, not only as skilled and talented makers but as influencers of its design heritage too. In this way, this article reconceptualises our understanding of what is meant by creativity in manual production and offers new ways of illuminating the significant creative exchange between maker and designer which until now has been neglected in the literature on both homeworking and the history of knitting more generally.","PeriodicalId":32765,"journal":{"name":"Textile Leather Review","volume":"81 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-02-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89845378","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-02-16DOI: 10.1080/14759756.2022.2140895
Tian Hewei
{"title":"Chinese Folk Embroidery Bellyband: The Intersection of Loving Symbol, Emotional Release, and Spiritual Needs","authors":"Tian Hewei","doi":"10.1080/14759756.2022.2140895","DOIUrl":"https://doi.org/10.1080/14759756.2022.2140895","url":null,"abstract":"","PeriodicalId":32765,"journal":{"name":"Textile Leather Review","volume":"272 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-02-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75778606","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-02-13DOI: 10.1080/14759756.2023.2165049
N. Pebryani, Melissa A. Vogel
{"title":"Weaving Web of Protection: Gringsing Textiles","authors":"N. Pebryani, Melissa A. Vogel","doi":"10.1080/14759756.2023.2165049","DOIUrl":"https://doi.org/10.1080/14759756.2023.2165049","url":null,"abstract":"","PeriodicalId":32765,"journal":{"name":"Textile Leather Review","volume":"14 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-02-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73161812","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-02-07DOI: 10.1080/14759756.2023.2167564
Tsai-Chun Huang
{"title":"Pliable Logic as a Practice-Led Research Methodology for Textile Practice","authors":"Tsai-Chun Huang","doi":"10.1080/14759756.2023.2167564","DOIUrl":"https://doi.org/10.1080/14759756.2023.2167564","url":null,"abstract":"","PeriodicalId":32765,"journal":{"name":"Textile Leather Review","volume":"33 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-02-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81817100","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-02-07DOI: 10.1080/14759756.2023.2168842
A. Chatterjee
{"title":"Received, in Shadows and Silence","authors":"A. Chatterjee","doi":"10.1080/14759756.2023.2168842","DOIUrl":"https://doi.org/10.1080/14759756.2023.2168842","url":null,"abstract":"","PeriodicalId":32765,"journal":{"name":"Textile Leather Review","volume":"39 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-02-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80046100","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-24DOI: 10.1080/14759756.2022.2141518
L. Abrams
{"title":"Creativity and Design in a Contemporary Knitwear Business: An Interview with Di Gilpin and Sheila Greenwell","authors":"L. Abrams","doi":"10.1080/14759756.2022.2141518","DOIUrl":"https://doi.org/10.1080/14759756.2022.2141518","url":null,"abstract":"","PeriodicalId":32765,"journal":{"name":"Textile Leather Review","volume":"103 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-01-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77664921","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-12-19DOI: 10.1080/14759756.2022.2150360
Sven Bethke, Gil Pasternak
Abstract This introduction to the special issue “Jewish Dress Through Visual Sources” prompts engagement with visual sources to expand research into the role of dress in the history of perceived minority groups. Drawing on the example of the Jewish people as one of the longest-lasting oppressed groups in history, the text opens by discussing some of the ways in which dress has played a primary role in shaping the social status of Jewish individuals and communities. It then highlights the interconnection between perceptions of dress with its visual imagery. Foregrounding some of the means that imbue dress with social significance and cultural value, it points to the ability of visual sources to offer insights into conditions underrepresented by other types of historical registers. Special attention is given to photographic image-objects as products of a medium that has radically changed—and democratized to a certain degree—how people re/work their identities, and perceive those of others, through dress. After introducing the contributions to the special issue, the text reflects on how the study of dress through engagement with visual sources pertaining to minority groups can transcend existing research approaches and diversify the scope of dress, fashion, and cultural history alike.
{"title":"Jewish Dress through Visual Sources: An Introduction","authors":"Sven Bethke, Gil Pasternak","doi":"10.1080/14759756.2022.2150360","DOIUrl":"https://doi.org/10.1080/14759756.2022.2150360","url":null,"abstract":"Abstract This introduction to the special issue “Jewish Dress Through Visual Sources” prompts engagement with visual sources to expand research into the role of dress in the history of perceived minority groups. Drawing on the example of the Jewish people as one of the longest-lasting oppressed groups in history, the text opens by discussing some of the ways in which dress has played a primary role in shaping the social status of Jewish individuals and communities. It then highlights the interconnection between perceptions of dress with its visual imagery. Foregrounding some of the means that imbue dress with social significance and cultural value, it points to the ability of visual sources to offer insights into conditions underrepresented by other types of historical registers. Special attention is given to photographic image-objects as products of a medium that has radically changed—and democratized to a certain degree—how people re/work their identities, and perceive those of others, through dress. After introducing the contributions to the special issue, the text reflects on how the study of dress through engagement with visual sources pertaining to minority groups can transcend existing research approaches and diversify the scope of dress, fashion, and cultural history alike.","PeriodicalId":32765,"journal":{"name":"Textile Leather Review","volume":"125 1","pages":"560 - 570"},"PeriodicalIF":0.0,"publicationDate":"2022-12-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76689771","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-12-19DOI: 10.1080/14759756.2022.2149081
Siún Carden
Abstract Styles of knitwear associated with places, such as Shetland’s “fair isle” and Ireland’s “aran” knitting, are viewed through the lens of “tradition” by many consumers and makers. The creative process which results in such textile products is widely recognized as a communal one and set within centuries-long (real and imagined) historical contexts. This popular understanding includes a valorization of hand skills, particularly the improvizational fluency of expert hand knitters of the past. Their remembered ability to work and re-work inherited forms into innovative objects with minimal or no written instruction is an example of the “improvizational dynamics” which make “copying and reproduction…part and parcel of the creative process”. During the twentieth century, Shetland “fair isle” and Irish “aran” knitting experienced commercial success fueled by both hand and machine making practices, part of their industrial heritage which influences production today. With the increasing globalization of the mass market apparel industry, “fair isle” and “aran” knitwear styles have been absorbed into an international design lexicon that is drawn on by a wide range of producers. Contemporary commercial producers of knitwear in Shetland and Ireland distinguish themselves from their international mass market counterparts by emphasizing their enmeshment in a living, longstanding, communal creative web of hand and machine-making practices. This article explores the relationship between creativity and repetition in contemporary Shetland “fair isle” and Irish “aran” knitting, drawing on interviews and observations from two studies, one about “skill” in the knit industry of Shetland and Ireland funded by the Carnegie Trust (2018–19) and one about the value of Shetland hand knitting (2016–17). The article argues that repetition (including that enabled by “traditional” hand knitting patterns and the designs programmed into automated production systems) and the mutually disruptive interplay of hand and machine processes are key to creativity in place-based knitting practices.
{"title":"Patterns and Programs: Replication and Creativity in the Place-Based Knitting of Shetland and Ireland","authors":"Siún Carden","doi":"10.1080/14759756.2022.2149081","DOIUrl":"https://doi.org/10.1080/14759756.2022.2149081","url":null,"abstract":"Abstract Styles of knitwear associated with places, such as Shetland’s “fair isle” and Ireland’s “aran” knitting, are viewed through the lens of “tradition” by many consumers and makers. The creative process which results in such textile products is widely recognized as a communal one and set within centuries-long (real and imagined) historical contexts. This popular understanding includes a valorization of hand skills, particularly the improvizational fluency of expert hand knitters of the past. Their remembered ability to work and re-work inherited forms into innovative objects with minimal or no written instruction is an example of the “improvizational dynamics” which make “copying and reproduction…part and parcel of the creative process”. During the twentieth century, Shetland “fair isle” and Irish “aran” knitting experienced commercial success fueled by both hand and machine making practices, part of their industrial heritage which influences production today. With the increasing globalization of the mass market apparel industry, “fair isle” and “aran” knitwear styles have been absorbed into an international design lexicon that is drawn on by a wide range of producers. Contemporary commercial producers of knitwear in Shetland and Ireland distinguish themselves from their international mass market counterparts by emphasizing their enmeshment in a living, longstanding, communal creative web of hand and machine-making practices. This article explores the relationship between creativity and repetition in contemporary Shetland “fair isle” and Irish “aran” knitting, drawing on interviews and observations from two studies, one about “skill” in the knit industry of Shetland and Ireland funded by the Carnegie Trust (2018–19) and one about the value of Shetland hand knitting (2016–17). The article argues that repetition (including that enabled by “traditional” hand knitting patterns and the designs programmed into automated production systems) and the mutually disruptive interplay of hand and machine processes are key to creativity in place-based knitting practices.","PeriodicalId":32765,"journal":{"name":"Textile Leather Review","volume":"2 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-12-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88578006","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-12-08DOI: 10.1080/14759756.2022.2141036
E. Zohar
Abstract In 1929, the Polish-Jewish newspaper “Nasz Przegląd” announced “Miss Judaea Contest” – Beauty Pageant exclusively for Jewish ladies. In the following year, the Yiddish newspaper “Unzer Express” launched an additional similar contest. This article focuses on two elements related to the Jewish Beauty Pageants in Interwar Poland: First, by using quantitative research methods, it reveals the esthetics and fashionable elements of the typical Jewish young women. Despite the differences between different groups in Polish Jewry, they shared similar attributes and influences which were manifested in the fashionable choices. In addition the article presents the vivid discussions that the contest aroused both in the Jewish community in Poland and in other Jewish communities abroad. The Jewish beauty pageants, as the discussions that followed, were representative of the process of change that Polish Jewry underwent in the interwar years. These pageants represented more than just pure entertainment and symbolized more than just modernity processes. For the Jewish community, as a national minority dispersed throughout Poland, such ethno-specific entertainment activities played an important role in shaping national identity.
{"title":"Jewish Beauty Pageants in Interwar Poland: Entertainment, Beauty Ideal, and National Emotions","authors":"E. Zohar","doi":"10.1080/14759756.2022.2141036","DOIUrl":"https://doi.org/10.1080/14759756.2022.2141036","url":null,"abstract":"Abstract In 1929, the Polish-Jewish newspaper “Nasz Przegląd” announced “Miss Judaea Contest” – Beauty Pageant exclusively for Jewish ladies. In the following year, the Yiddish newspaper “Unzer Express” launched an additional similar contest. This article focuses on two elements related to the Jewish Beauty Pageants in Interwar Poland: First, by using quantitative research methods, it reveals the esthetics and fashionable elements of the typical Jewish young women. Despite the differences between different groups in Polish Jewry, they shared similar attributes and influences which were manifested in the fashionable choices. In addition the article presents the vivid discussions that the contest aroused both in the Jewish community in Poland and in other Jewish communities abroad. The Jewish beauty pageants, as the discussions that followed, were representative of the process of change that Polish Jewry underwent in the interwar years. These pageants represented more than just pure entertainment and symbolized more than just modernity processes. For the Jewish community, as a national minority dispersed throughout Poland, such ethno-specific entertainment activities played an important role in shaping national identity.","PeriodicalId":32765,"journal":{"name":"Textile Leather Review","volume":"19 1","pages":"626 - 644"},"PeriodicalIF":0.0,"publicationDate":"2022-12-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84444231","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-12-08DOI: 10.1080/14759756.2022.2141037
Jonathan C. Kaplan
Abstract In June 1938, only four months after the Anschluss [the Nazi annexation of Austria], the Nazi administration in Salzburg region announced a ban on Jews and other non-Aryans dressing in local Volkstrachten [folk costumes]. This “Trachtenverbot” highlighted specific forbidden garments and anyone in breach of the rules was subject to a fine of 133 marks or a period of two weeks imprisonment. Although at the time of the Anschluss the majority of Austrian Jews lived in Vienna and did not wear Trachten on a regular basis, the donning of these symbolically “German” garments played a central role in the lives of many. Countless surviving photographs from the late nineteenth and early twentieth centuries depict Austrian Jews attired in Volkstrachten while relaxing on holiday or else taken in urban photographic studios. With their multilayered, symbolic meanings, such forms of attire served as important tools of self-fashioning and identification among Austrian Jews—especially in the wider context of the question of “Austrian nationality” during the time of the multiethnic Dual Monarchy and post-1918 First Austrian Republic. Using visual and written sources, this article explores the function of folk styles in the process of self-fashioning and Jewish identification in the early twentieth century.
{"title":"Lederhosen, Dirndl, and a Sense of Belonging: Jews and Trachten in Pre-1938 Austria","authors":"Jonathan C. Kaplan","doi":"10.1080/14759756.2022.2141037","DOIUrl":"https://doi.org/10.1080/14759756.2022.2141037","url":null,"abstract":"Abstract In June 1938, only four months after the Anschluss [the Nazi annexation of Austria], the Nazi administration in Salzburg region announced a ban on Jews and other non-Aryans dressing in local Volkstrachten [folk costumes]. This “Trachtenverbot” highlighted specific forbidden garments and anyone in breach of the rules was subject to a fine of 133 marks or a period of two weeks imprisonment. Although at the time of the Anschluss the majority of Austrian Jews lived in Vienna and did not wear Trachten on a regular basis, the donning of these symbolically “German” garments played a central role in the lives of many. Countless surviving photographs from the late nineteenth and early twentieth centuries depict Austrian Jews attired in Volkstrachten while relaxing on holiday or else taken in urban photographic studios. With their multilayered, symbolic meanings, such forms of attire served as important tools of self-fashioning and identification among Austrian Jews—especially in the wider context of the question of “Austrian nationality” during the time of the multiethnic Dual Monarchy and post-1918 First Austrian Republic. Using visual and written sources, this article explores the function of folk styles in the process of self-fashioning and Jewish identification in the early twentieth century.","PeriodicalId":32765,"journal":{"name":"Textile Leather Review","volume":"80 1","pages":"599 - 625"},"PeriodicalIF":0.0,"publicationDate":"2022-12-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77475162","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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