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The complete reference on all fabrics, their properties and their uses in fashion.\"The topics are summarised and conceptualised with striking visuals and supporting graphics…teachers will find it easy to use this book to access key facts quickly\" Just4Textiles\"Anyone with an interest in fashion should read it and anyone studying or working in the sector should buy it now\" Style With Heart\"This title is a wealth of information on every possible fabric, from yak hair to hemp and polyamide to elastine and synthetic rubber. You name it, this book will tell you the history, properties and manufacturing processes of each, using images from the catwalk and the factory to illustrate\" The Sewing TreeFabric for Fashion: The Complete Guide is the only book specifically for fashion designers that explains the behaviour and properties of different fabrics. Fashion design is largely determined by how fabrics work, move, feel and look. The most successful fashion designers are those who understand their materials and match design skill with technical knowledge. This book bridges the gap by providing a mix of practical information and industry vocabulary, visually examining generic fabric types, discussing their characteristics and showing how to exploit materials to push the boundaries of design.With stunning colour photographs that show how fashion designers, both past and present, have worked with fabrics, the book's prime objective is to stimulate creative exploration of the relationship of fabrics to fashion. Now in its second edition, it covers man-made as well as natural fibres, making it the complete guide to fabrics. The book also includes a useful glossary of key terms and a resource guide to sourcing fabrics. It will be indispensable for anyone who works in fashion and is the ideal companion to Fabric for Fashion: The Swatch Book, also in its second edition.

Expresses nostalgia for the fast-disappearing haberdashery departments of NZ's retail establishments, and stands up for their preservation. Source: National Library of New Zealand Te Puna Matauranga o Aotearoa, licensed by the Department of Internal Affairs for re-use under the Creative Commons Attribution 3.0 New Zealand Licence.

What are our clothes made from? Young children encounter many applications of technology in their daily lives. Clothing is a product that children use every day without thinking about what they are made from and how they are produced. Fabrics, the source of the raw material fibre, and their design and manufacture are essential to human survival. Although important to everyday life, the science, technology, engineering and mathematics surrounding fabrics and their use in clothing, bedding and home furnishings are likely to be overlooked by young children. This article focuses on a sequence of learning experiences designed to raise children's awareness about weaving using yarn, which is one aspect of fibre and production technologies. Yarn is a product that could easily remain a 'hidden material' (Fleer, 2019) without an emphasis on common usage and cultural and historical techniques.

Discusses the use of reject cloth from the U.S.A. in Nigerian textile designs. The author explains the process that leads to American reject and waste cloth ending up being sold in Nigeria, describes his encounters with South Nigerian textile workers, and examines the resulting textile collage designs, with particular attention to bedclothes, the prominence of Walt Disney characters, and the plurality of images in Nigerian culture.

Mary C. Beaudry mines archaeological findings of sewing and needlework to discover what these small traces of female experience reveal about the societies and cultures in which they were used. Beaudry's geographical and chronological scope is broad: she examines sites in the United States and Great Britain, as well as Australia and Canada, and she ranges from the Middle Ages through the Industrial Revolution. The author describes the social and cultural significance of \"findings\": pins, needles, thimbles, scissors, and other sewing accessories and tools. Through the fascinating stories that grow out of these findings, Beaudry shows the extent to which such \"small things\" were deeply entrenched in the construction of gender, personal identity, and social class.

Elizabeth Keckley, freed slave and seamstress to Mary Lincoln, published her autobiography, \"Behind the Scenes, or, Thirty Years a Slave and Four Years in the White House,\" in 1868 to a storm of abuse. Santamarina argues that much of that disapproval stemmed from Keckley's insistence on her agency as a black female worker. Her critics were outraged not only by what they saw as her betrayal of her employer (Keckley wrote the book in defense of Mary Lincoln's attempt after her husband's assassination to raise money by selling her clothes), but also by her assumption that the intimate nature of her work established her social parity with the women for whom she worked, rather than her subordination to them.

There is what might be called a Proustian moment in Chapter 7 ofJacob’s Room(1922), but it is not really a Proustian moment, more a travesty of one. An image on which the famous madeleine episode depends is dismissed as a faddish distraction for dinner parties. Here is Proust: And as in the game wherein the Japanese amuse themselves by filling a porcelain bowl with water and steeping in it little pieces of paper which until then are without character and form, but, the moment they become wet, stretch and twist and take on colour and distinctive shape, become

‘The most fashionable and popular millinery and dress making establishment in Toronto,’ according to a commercial directory of 1893, ‘is that of Miss Paynter … An extensive display is made of Paris, London and New York millinery … in rooms fitted up with mirrors, plate glass showcases and all modern conveniences … by a lady of most excellent taste and judgement.’¹ Miss Paynter was one of a growing number of talented and ambitious women who set up millinery shops, not just in cities such as Toronto, but in virtually every town and village across Ontario (see colour plate B). At

Two seamstresses pose for a photographer (Figure 7.1). The photographer has recorded his identity as M.de Charly, dated the image 1862, and labeled itDans l’atelier.² He has also recorded the seamstresses’ identity, as they have presented it to him. He might have brought his equipment to their workshop, but technical reasons argue instead that they have come to his studio.³ Dressed in fine products of their skill, the seamstresses have surrounded themselves with tokens of their trade: scissors, tool basket, cut fabric in front of them, pattern pieces behind them to the left, assembled dresses to the right. We