Pub Date : 2024-09-19DOI: 10.1080/00404969.2024.2392495
Lesley A. O’Connell Edwards
It is estimated that around ten million pairs of knitted stockings were needed annually by the population of England at the end of the sixteenth century, and further pairs were exported abroad. Thi...
{"title":"The Production and Trade of Hand-Knitted Wool Stockings in Elizabethan and Early Jacobean England (c. 1580–c. 1617)","authors":"Lesley A. O’Connell Edwards","doi":"10.1080/00404969.2024.2392495","DOIUrl":"https://doi.org/10.1080/00404969.2024.2392495","url":null,"abstract":"It is estimated that around ten million pairs of knitted stockings were needed annually by the population of England at the end of the sixteenth century, and further pairs were exported abroad. Thi...","PeriodicalId":43311,"journal":{"name":"TEXTILE HISTORY","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2024-09-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142258554","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-06-10DOI: 10.1080/00404969.2024.2332869
N. Gentle
{"title":"A Set of Liturgical Vestments and Textiles Made for the Requiem Mass in the Early Eighteenth Century","authors":"N. Gentle","doi":"10.1080/00404969.2024.2332869","DOIUrl":"https://doi.org/10.1080/00404969.2024.2332869","url":null,"abstract":"","PeriodicalId":43311,"journal":{"name":"TEXTILE HISTORY","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2024-06-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141363626","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-05-23DOI: 10.1080/00404969.2024.2318664
Frances Robertson
{"title":"Redrafting Domestic Life: Women Textile Designers and New Professional Enterprises in Early 1970s Britain","authors":"Frances Robertson","doi":"10.1080/00404969.2024.2318664","DOIUrl":"https://doi.org/10.1080/00404969.2024.2318664","url":null,"abstract":"","PeriodicalId":43311,"journal":{"name":"TEXTILE HISTORY","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2024-05-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141104456","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Pika Ghosh, Making Kantha, Making Home: Women at Work in Colonial Bengal","authors":"Edward S. Cooke Jr.","doi":"10.1080/00404969.2021.1948186","DOIUrl":"https://doi.org/10.1080/00404969.2021.1948186","url":null,"abstract":"(2021). Pika Ghosh, Making Kantha, Making Home: Women at Work in Colonial Bengal. Textile History: Vol. 52, No. 1-2, pp. 213-214.","PeriodicalId":43311,"journal":{"name":"TEXTILE HISTORY","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2022-05-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138508915","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-05-20DOI: 10.1080/00404969.2021.2037911
Holly Fletcher
(2021). ‘Zoom Into This Embroidered Panel for a Cabinet Door’. Textile History: Vol. 52, No. 1-2, pp. 200-203.
(2021)。“放大这个橱柜门的刺绣面板”。纺织史:第52卷第1-2期，页200-203。
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Pub Date : 2022-01-02DOI: 10.1080/00404969.2022.2193078
Christopher Breward
but also within the international fashion sector. Although the editors provide an excellent bibliographic review of Spanish fashion history in their introduction, the book omits bibliographic sources in international and Spanish historiography that would have helped to better contextualise the topic for an Anglo-Saxon audience. For example, references to the London punk underground movement, the fashion photography trends led by Martin Muncaksi and continued by Richard Avedon, or Balenciaga’s role in the international fashion scene during the 1940s, would have supported a better understanding of some of the topics discussed. After all, La Movida, Spanish fashion photography and Balenciaga’s work for Spanish films in the 1940s, were part of wider, international tendencies. The great merit of this edited volume is its inclusion of a diverse range of approaches that enrich the subject. It pioneers the study of current Spanish fashion and lays the foundations to move forward. Therefore, Fashioning Spain. From Mantillas to Rosal ıa is recommended reading for all scholars of Spanish fashion.
{"title":"Queering the Subversive Stitch: Men and the Culture of Needlework","authors":"Christopher Breward","doi":"10.1080/00404969.2022.2193078","DOIUrl":"https://doi.org/10.1080/00404969.2022.2193078","url":null,"abstract":"but also within the international fashion sector. Although the editors provide an excellent bibliographic review of Spanish fashion history in their introduction, the book omits bibliographic sources in international and Spanish historiography that would have helped to better contextualise the topic for an Anglo-Saxon audience. For example, references to the London punk underground movement, the fashion photography trends led by Martin Muncaksi and continued by Richard Avedon, or Balenciaga’s role in the international fashion scene during the 1940s, would have supported a better understanding of some of the topics discussed. After all, La Movida, Spanish fashion photography and Balenciaga’s work for Spanish films in the 1940s, were part of wider, international tendencies. The great merit of this edited volume is its inclusion of a diverse range of approaches that enrich the subject. It pioneers the study of current Spanish fashion and lays the foundations to move forward. Therefore, Fashioning Spain. From Mantillas to Rosal ıa is recommended reading for all scholars of Spanish fashion.","PeriodicalId":43311,"journal":{"name":"TEXTILE HISTORY","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42082168","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-01-02DOI: 10.1080/00404969.2022.2112536
Mathijs Speecke
The example of the tentergrounds in late medieval Bruges shows how landowners—both public and private—profited from unfavourable geo-morphological conditions to create vast industrial spaces used for the drying, stretching, and shearing of woollen cloths. A combination of evidence from historical and toponymical records gives us a unique insight into the changing scale and impact of this industry on the medieval urban landscape. This evidence also reveals the ways in which these industrial spaces were controlled, appropriated, (re)organised and put to different usages by various actors, social groups, and institutions, depending on commercial changes and economic interests.
{"title":"Walls of Cloth: Tentergrounds and Cloth Production in Bruges, c. 1200–1600","authors":"Mathijs Speecke","doi":"10.1080/00404969.2022.2112536","DOIUrl":"https://doi.org/10.1080/00404969.2022.2112536","url":null,"abstract":"The example of the tentergrounds in late medieval Bruges shows how landowners—both public and private—profited from unfavourable geo-morphological conditions to create vast industrial spaces used for the drying, stretching, and shearing of woollen cloths. A combination of evidence from historical and toponymical records gives us a unique insight into the changing scale and impact of this industry on the medieval urban landscape. This evidence also reveals the ways in which these industrial spaces were controlled, appropriated, (re)organised and put to different usages by various actors, social groups, and institutions, depending on commercial changes and economic interests.","PeriodicalId":43311,"journal":{"name":"TEXTILE HISTORY","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42695615","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-01-02DOI: 10.1080/00404969.2022.2193079
Kimberly Chrisman-Campbell
In Gilded Age America—where an estimated seventy-one per cent of private wealth was concentrated in the hands of the nine per cent—fashion was both an economic and social engine. Expensive laundry was a form of money laundering: converting sometimes dubiously obtained cash into cultural capital in the form of French fashion. Dressing Up explores the ‘soft diplomacy’ that women of the New World exercised by buying dresses from the Old World—along with art, interior decor and, occasionally, husbands. French garments and ‘fancy articles’ were available in the US as early as the 1840s, imported by local dressmakers who made regular trips to Paris. By the 1880s, thanks to improvements in international travel and communication, American women who could afford it were doing their shopping in Paris, though they continued to patronise stateside dressmakers and department stores. ‘Proxy shopping’ for hometown friends and family was a timeconsuming part of this fashion tourism. Paris was the home of haute couture: luxury fashion custom-made for elite clients. (The French term for ready-to-wear clothing was not couture but confection.) The history of haute couture has foregrounded the virtuosity of the designer, who was often (though not always) male—a narrative that Charles Frederick Worth has, rather unfairly, dominated. Block argues, persuasively, that female clients were ‘active participants in the large, transnational fashion system’—and that American women played a key role in shaping ‘French’ style. Along with their innate good taste, good looks and deep pockets, they brought their ‘entrenched frugality’—a holdover from Puritan provincialism—and ‘high textile I.Q.’ to bear on Gallic genius. Block explores the role of international expositions, which were places to preview the latest in taste and technology, and to see and be seen: visitors dressed to impress. Yet these costly gambits could bring financial ruin as well as good publicity to the fashion dealers who exhibited their wares. Lavish fancy dress balls functioned as extensions of the operas that usually preceded these late-night affairs; costumed guests strutted in vast, empty ballrooms like actors on a stage. These important fashion activations have been covered elsewhere, but Block fleshes out the story, introducing lesserknown names like Madame Olympe, Morin-Blossier (who dressed Princess Alexandra) and Maison F elix, the presumed designer of the black gown worn by John Singer Sargent’sMadame X. Most impressively, Block untangles the fascinating ties between couturiers and coiffeurs, milliners and perfumers. Both hair and dresses were routinely scented, and fashion magazines often identified the perfume as well as the dressmaker, hairdresser and corset-maker responsible for an outfit in a fashion plate. French hair salons advertised ‘American comfort’ and ‘American’ shampoo—that is, shampoo used with water, as opposed to French dry shampoo. Tantalising references to professional hair colouri
在镀金时代的美国——估计71%的私人财富集中在9%的富人手中——时尚既是经济的引擎，也是社会的引擎。昂贵的洗衣店是一种洗钱形式:将有时来路不明的现金转换成法国时尚形式的文化资本。《穿衣打扮》探索了新世界女性从旧世界购买服装、艺术品、室内装饰，偶尔还会购买丈夫的“软外交”。早在19世纪40年代，美国就可以买到法国服装和“高档物品”，它们是由定期前往巴黎的当地裁缝进口的。到19世纪80年代，由于国际旅行和通讯的发展，能够负担得起的美国女性在巴黎购物，尽管她们继续光顾美国本土的裁缝店和百货公司。为家乡的朋友和家人“代购”是这种时尚旅游中耗时的一部分。巴黎是高级时装的故乡:为精英客户定制的奢侈时装。(法语中成衣的叫法不是高级定制，而是糖果。)高级定制时装的历史凸显了设计师的精湛技艺，他们通常(尽管不总是)是男性——查尔斯·弗雷德里克·沃斯(Charles Frederick Worth)一直不公平地主导着这一叙事。布洛克令人信服地指出，女性客户是“庞大的跨国时尚体系的积极参与者”，而美国女性在塑造“法国”风格方面发挥了关键作用。除了天生的好品味、漂亮的外表和雄厚的财力外，他们还把“根深蒂固的节俭”(这是清教徒保守主义的遗风)和“高纺织智商”带到了高卢天才身上。布洛克探讨了国际博览会的作用，它是预览最新品味和技术的地方，也是看到和被看到的地方:游客的穿着给人留下深刻印象。然而，这些代价高昂的策略可能会给展出其产品的时装经销商带来财务损失和良好的宣传。奢华的化装舞会是通常在这些深夜活动之前的歌剧的延伸;盛装的宾客在空旷的宴会厅里昂首阔步，就像舞台上的演员。这些重要的时尚活动已经在其他地方被报道过，但布洛克充实了这个故事，介绍了一些不太为人所知的名字，比如奥林普夫人、莫林-布洛西耶(为亚历山德拉公主设计服装的人)，以及约翰·辛格·萨金特(John Singer Sargent)饰演的x夫人所穿的黑色礼服的设计师Maison felix。最令人印象深刻的是，布洛克解开了女装设计师和理发师、女帽商和香水师之间的奇妙联系。头发和衣服都经常有香味，时尚杂志经常在时尚盘子里识别香水以及负责服装的裁缝、美发师和紧身胸衣制造商。法国发廊宣传的是“美式舒适”和“美式”洗发水——也就是加了水的洗发水，而不是法国的干式洗发水。有关专业染发和“巨大的人类头发国际贸易”的诱人说法值得进一步探索。在18世纪，“发型”是一种可携带的商品，而不是短暂的时尚宣言。同样，精英服饰和蕾丝的再利用有着更深的根源;直到最近，一件衣服不能穿一次以上才成为禁忌，而现代王室成员和名人出于可持续性的考虑，正在抵制这一禁忌。在不牺牲准确性的前提下，这本书将受益于在更广泛的历史背景下构建这些趋势。尽管《装扮》中的插图数量众多，质量也很高，但最终还是让人失望。这本书包括了几件幸存的礼服的正面和背面，通常还附有她的肖像或照片
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Pub Date : 2022-01-02DOI: 10.1080/00404969.2022.2193081
R. Hamilton
larly useful in regard to establishing processes to minimise the effects of agents of deterioration (such as pests, pollutants, light), for example, implementing a regular gallery maintenance program and monitoring light levels. An essential part of the book is the section on condition surveys and treatment methodologies. Following a philosophy of minimal intervention, Marko guides the reader through the process of making treatment decisions. She outlines the objectives to be considered in determining appropriate cleaning methods, and in developing options for structural support and display. This discussion also covers conservation stitching and infill techniques used to compensate for loss—methods that reinstate images to enhance the visual presentation of a tapestry. Marko views previous interventions as part of the history of an object—a philosophy that is now generally accepted in the field of textile conservation. When relevant, Marko advocates strengthening weakened historical repairs with stitching techniques. She carefully considers the removal of previous interventions on a case-by-case basis. For example, if there are repairs, restorations or alterations that are causing distortion and undermining the physical stability of a tapestry, these could be removed. Toward the end of the book, Marko expertly illustrates the topics discussed in previous chapters through twenty case studies. Each highlights a specific conservation challenge and presents accessible directions for the treatment strategies Marko and her team employed (it is clear from her presentation that teamwork is integral to the successful outcome of a project). Here, as throughout the book, she uses images to communicate the elements of the intricate and laborious procedures involved in conserving tapestries. Marko shares a wealth of information in this seminal publication. The book concludes with appendices on materials and equipment used in conservation treatments. The appendices also include examples of standard procedures such as condition reporting and documentation, which are seen as obligatory for the fulfilment of the conservator’s responsibility to preserve findings for the future, and to create a foundation for productive conservation and curatorial discussions. The glossary, index and bibliography provide further helpful resources to guide the reader through the rich technical content of the book. Woven Tapestry: Guidelines for Conservation is an important contribution to the field of textile conservation. The book is an essential resource not only for experts in the field, but for beginners as well. Indeed, it is accessible to any reader with an interest in the preservation of this highly complex and technically sophisticated art form.
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