Scotia Beading

A new exhibition at the V&A Dundee aims to unravel the complex legacy of tartan, a checked cloth deeply embedded in Scottish identity but with a global reach. Tartan, often called "plaid" in the United States, has a long and multifaceted history, serving as both a symbol of tradition and subversion. Mhairi Maxwell, a curator at the V&A Dundee, notes that Scots have a love-hate relationship with the fabric, which embodies ongoing debates about independence, nationalism, decolonization, and global textile perspectives. Originating in Scotland at least by the third century A.D., tartan is characterized by its simple "two over two" twill weave, creating interlocking stripes. Traditionally made from wool, it was practical wear for the Gaelic-speaking Highlanders. Its political significance escalated in the mid-18th century when it became a symbol of allegiance for Bonnie Prince Charlie and his Jacobite rebels during their attempt to restore the House of Stuart. Following their defeat at Culloden in 1746, Highland dress, including specific tartan-patterned items like the phillabeg and trews, was banned. While the ban did not prohibit all tartan per se, it severed the Highlanders' everyday connection to the fabric by forcing them into Lowland European clothing styles. The repeal of the ban in 1782 marked a turning point. In 1822, King George IV's decision to appear in full Highland dress during his visit to Scotland inadvertently led to the phenomenon of "tartanry," a kitschy, overly romanticized portrayal of Scotland. Queen Victoria further amplified this trend with her purchase and tartan-decorated Balmoral Castle, transforming the Highlands into an idyllic tourist destination after many of its inhabitants were displaced in the Highland Clearances. Tartan became a brand, mass-produced and spread across the British Empire by the military. This commodification was later challenged by 1970s youth culture, with punks like the Vivienne Westwood-styled Sex Pistols using tartan to subvert the establishment. Fashion designer Alexander McQueen consciously repoliticized the cloth with his 1995 "Highland Rape" show, using Clan MacQueen tartan to highlight the destruction of Highland culture after Culloden. Maxwell emphasizes that tartan is a "loud pattern," always worn to be seen and heard. Today, tartan continues to evolve. Despite its pervasive presence in Scottish souvenir shops, businesses are re-evaluating its role. The Fife Arms in the Cairngorms, for instance, incorporates tartan alongside contemporary international art. Brands like Prickly Thistle are championing sustainable practices, crafting made-to-measure garments from natural fibers to combat fast fashion. Beyond Scotland, tartan has found global appeal. It is as much a Japanese symbol as it is Scottish, appearing in Tokyo street style, runway shows, and even a major Japanese museum exhibition years before Scotland hosted its own. It's also an official national symbol of Canada, the Maple Leaf Tartan. The V&A Dundee exhibition aims to decentralize tartan's narrative, showcasing its use in French couture and Indian madras fabrics, establishing it as a truly global textile with enduring tension and inspiration. #Tartan #ScottishHistory #VADundee #TextileArt #FashionHistory #CulturalIdentity #HighlandDress #JacobiteRebellions #SustainableFashion

Sophie Stone, a textile artist based in Long Island City, Queens, is known for her intricate textile works that blend classic crafts with contemporary narratives. Her studio is a treasure trove of fabrics, ranging from 19th-century crazy quilts to vintage napkins and even stretchy strings, all serving as material for her creations. Stone's artistic journey began at the Rhode Island School of Design, where she studied painting but gravitated towards unconventional surfaces. She collected various found objects and materials, pondering how to integrate them into her art. The turning point came with a dream about crafting large rugs from bedsheets. This vision materialized when artist Jessi Reaves invited Stone to participate in a 2016 two-person exhibition at Del Vaz Projects in Los Angeles. For this show, Stone created unique, mesmerizing composites for floors and walls by cutting and weaving plastic mats, industrial carpeting, and everyday fabrics. Her process is largely intuitive; she describes entering a trance-like state as she selects materials and begins to work. Stone’s versatility is evident in her diverse commissions and projects. She has created bespoke rag rugs from salvaged and new materials for a Brooklyn project with AD100 designer Adam Charlap Hyman, who also commissioned a slipcover for a Hudson Valley fireplace. For a recent group show, "The Loving Cup," at Manhattan’s Jacqueline Sullivan Gallery, Stone reimagined antique doilies, traditionally used to cover open glasses, by decorating them with sparkly fishing lures, adding a modern and whimsical touch. Her studio reflects her creative ethos, filled with textiles sourced from eBay and estate sales, alongside beads, dried flowers, charms, and other decorative elements. This eclectic mix consciously or subconsciously links womanhood and traditional crafts, reminiscent of quilting circles and slumber party bracelet-making. Stone values the slow, manual nature of her work, which she finds grounding. She notes that the time-consuming process of using her hands, away from digital distractions, keeps her engaged in the present moment. Stone’s work, which combines historical textiles with contemporary artistic expression, has garnered attention, with her creations being featured in AD’s June issue. Her ability to transform disparate materials into cohesive and compelling art pieces highlights her unique approach to textile art, giving new life to old threads and infusing them with personal and contemporary narratives. #SophieStone #TextileArt #ContemporaryCrafts #TextileArtist #QueensStudio #RagRugs #FoundObjects #ArtisticProcess #HomeDecor #HandmadeArt

Duro Olowu, the Nigerian-born, London-based fashion designer, has launched his inaugural home-fabrics collection in collaboration with Soane Britain. This partnership materialized from an Instagram interaction after Olowu admired and posted a picture of Soane's window display in Pimlico. Lulu Lytle, cofounder and creative director of the 23-year-old British home-furnishings brand, noticed Olowu's post, leading to a collaboration that blends Olowu's distinctive design philosophy with Soane's established aesthetic. Lytle expressed her long-standing admiration for Olowu's "irreverence for any rules, incredibly bold use of color, and combinations of patterns." This appreciation for Olowu's unique approach to design laid the foundation for their joint venture. Olowu, in turn, was drawn to Soane's design ethos, describing their layered English-country styles, featuring antique motifs, florals, and botanicals, as both classic and unconventional. This mutual respect for each other's design principles created a cohesive and inspiring collaboration. Olowu's personal passion for textiles and decorating is evident in his collection. He is known for collecting West African fabrics and is an admirer of the work of prominent New York interior designer Billy Baldwin. These influences, combined with his fashion background, translate into a home fabric line that is both vibrant and thoughtfully curated. The collection, which is Olowu’s first foray into home textiles, reflects a sophisticated understanding of pattern and color. The Soane collection comprises four distinct fabric designs, each offered in 11 different colorways. The inspiration behind these designs is diverse and global, ranging from the architectural grandeur of Mali's mud mosques to the intricate details of Georgian wrought-iron architecture and the artistic principles of the Arts and Crafts movement. Olowu articulates his intention to "create a sophisticated celebration of pattern" through this collection, aiming for designs that are rich in cultural references and visual appeal. The featured swatches, including 'Timbuktu in Baobab,' 'Regency Swirl in Adam’s Pink,' 'Stencil Leaf in Raspberry,' and 'Timbuktu in Mirage,' exemplify the collection's vibrant palette and intricate patterns. The article showcases various applications of these fabrics, such as an ottoman upholstered in 'Koro in Water Nymph,' a Rampart sofa from Soane in 'Stencil Leaf in Raspberry,' and a screen in 'Timbuktu in Thorn Apple.' These examples highlight the versatility and aesthetic impact of Olowu’s designs within a home setting. The collection aims to bring a unique blend of global inspirations and a sophisticated color sensibility to interior design. #DuroOlowu #SoaneBritain #FabricCollection #HomeDecor #InteriorDesign #TextileDesign #PatternDesign #Collaboration #GlobalInspiration

Weaving is a traditional craft that involves interlacing threads or fibers to create textiles and accessories. For individuals interested in learning this craft or establishing a weaving business, sourcing appropriate supplies is a fundamental first step. The textile industry encompasses a broad spectrum of operations, from large-scale manufacturers to independent weavers who market their handmade products directly to consumers. Small businesses in this sector typically distinguish themselves not by competitive pricing, but by offering unique, handcrafted items and personalized customer service. Numerous online and physical retailers offer a comprehensive selection of weaving supplies and kits. Top sources include major online marketplaces such as Amazon and Etsy, which provide a wide array of looms, yarns in various colors, and instructional books and kits suitable for beginners. Amazon is noted for its value and rapid order fulfillment, including two-day free shipping for Prime members on many products. Etsy, conversely, is a hub for distinctive craft materials, featuring hand-dyed and hand-spun yarns, as well as artisanal wooden tools like dowels, combs, and shed sticks. Specialized fiber arts stores like WEBS (America's Yarn Store), The Woolery (focused on fiber crafts), The Weavers Loft (dedicated entirely to weaving supplies with nationwide shipping), Vermont Weaving Supplies (offering products for all skill levels and customer guidance), Pacific Wool and Fiber (specializing in quality yarn and looms with free shipping incentives), and Paradise Fibers (a Washington-based company providing tools, educational content, and a loyalty program) cater specifically to the weaving community. Gist Yarn offers yarns, patterns, tools, and educational resources, while eBay provides a diverse marketplace for various weaving supplies and accessories from multiple sellers, often featuring new options and deals. Essential weaving supplies include a variety of yarns, each with distinct properties. Cotton yarn is a natural, breathable, absorbent, and soft fiber, ideal for lightweight and comfortable fabrics like summer clothing, towels, and bed linens, and is valued for its durability and ease of care. Wool yarn, primarily from sheep, is recognized for its warmth, elasticity, and natural water repellency, making it suitable for winter garments, blankets, and rugs. Silk yarn is a luxurious natural fiber known for its sheen, strength, and smooth texture, frequently used in high-end items such as scarves, shawls, and elegant apparel. Linen yarn, derived from the flax plant, offers exceptional coolness and freshness, making it perfect for table linens, curtains, and summer clothing, and becomes softer with each wash. Bamboo fiber is a regenerated cellulose fiber with a smooth texture and eco-friendly attributes, used for silky, drapey items and noted for its antibacterial and hypoallergenic properties. Synthetic yarns like acrylic and polyester are man-made, providing a wide range of colors and textures, and are favored for durability, low maintenance, and affordability. Alpaca fiber is a soft, durable, and luxurious natural fiber, prized for its warmth, hypoallergenic nature, and lightweight quality, making it ideal for sweaters and blankets. Jute fiber, a long, soft, and shiny vegetable fiber, is used for rustic items like sacks and rugs due to its natural brown hue and eco-friendly characteristics. Tencel fiber, a regenerated cellulose fiber from wood pulp, is known for its smooth texture, strength, and eco-friendly production, utilized for silky, drapey items with moisture-wicking properties. Other crucial supplies include wool roving (for spinning or tapestry work), warp thread (strong fibers for the loom's vertical setup), patterns (for guiding weaving projects), and dowels (for holding finished tapestries). Various tools and equipment are indispensable for weaving. The loom is the central tool, holding warp threads taut, with options ranging from simple frame looms to complex floor looms. A shuttle carries the weft yarn across the loom. A warping board or mill aids in measuring and organizing warp threads, ensuring correct length and tension. A reed or heddle lifts and lowers warp threads to create a shed for the weft. Bobbins hold weft yarn in conjunction with a shuttle. A warping peg assists in direct warping on rigid heddle looms, maintaining even tension. A beater pushes weft yarn into place for a tight fabric. Scissors are fundamental for cutting yarn. A raddle evenly distributes warp threads. A tape measure is necessary for accurate measurements. A threading hook assists in threading yarn through heddles and reeds. Lease sticks keep warp threads organized. A temple stretches weaving widthwise to maintain even selvages. A fringe twister creates neat fringes. A yarn swift holds skeins for winding, while a yarn ball winder creates neat yarn balls. A sley hook helps pull warp threads through reed slots. Warp weights maintain tension in tapestry weaving. Tapestry needles are used for hand-weaving or adding details. A shed stick separates threads for easier needle threading. A loom brush cleans the loom. Optional tools include a spinning wheel for custom yarns and fiber wash for cleaning finished woven items. For beginners, a rigid-heddle loom, approximately 15 to 25 inches wide, is often recommended as a manageable starting point. Common yarns include wool, cotton, and rayon, chosen based on the desired product. Weaving allows for the creation of diverse products, including rugs, tapestries, scarves, bags, jewelry, clothing, blankets, table linens, pillows, wall hangings, kitchen towels, hats, upholstery fabric, baskets, footwear, and standalone art pieces, offering extensive creative possibilities and customization. #WeavingSupplies #HandmadeBusiness #TextileCrafts #YarnTypes #WeavingTools #FiberArts #SmallBusinessResources #CraftingMaterials

The Queen West area of Toronto, specifically the Fashion District stretching from Queen past King, between Bathurst and Spadina, continues to be a significant hub for fabric and bead stores, despite a noticeable decline in their numbers over the years. This district, historically a go-to for textiles and crafting supplies, now hosts just over ten such shops, catering to both seasoned sewers and students from institutions like George Brown and Ryerson. The industry faces challenges, particularly from the rise of online shopping, which makes the tactile experience of selecting fabrics and beads less common. Owners lament that while online platforms offer convenience, they cannot replicate the essential 'touch-and-feel' aspect crucial for these materials. This shift has led to a decrease in new businesses entering the textile retail sector, with many existing stores having operated for decades. Linda Wen, owner of Leo's Textiles, a store with roots dating back to 1955, highlights the impact of online competition and a dwindling interest in sewing among younger generations. Her mother, Susie Wong, expanded Leo's Textiles significantly after purchasing it in 1989, but the sentiment remains that current generations might be the last to sustain this type of business. Similarly, Emily Lau of Bling Bling, a family-owned bead shop specializing in freshwater pearls and non-plastic beads for over 15 years, notes that platforms like Etsy have contributed to a downturn in the bead industry. Some stores, like Arton Beads, have even downsized, though they express confidence in their continued presence. The article provides a comprehensive list of the remaining fabric and bead stores on Queen West. King Textiles, a large second-floor shop, has been supplying fabrics for over 20 years. Neveren's Sewing Supplies, operating for over 45 years, offers a range of fabric, thread, and zipper deals. Leo's Textiles, a popular spot since 1955, is known for its extensive fabric selection, including bridal-worthy materials. EuroFab, established in 1998, focuses on drapery, blinds, and upholstery fabrics for home decor. Downtown Fabrics showcases a wide selection of silks and bamboo jerseys, many imported from Europe. Chu Shing Textiles provides neatly stacked materials ranging from wedding fabrics to various colored jerseys. Queen Textiles, though a cramped space, has been a reliable source for two decades. For bead enthusiasts, Arton Beads remains a popular destination, frequently offering deals on Japanese cube beads and semi-precious stones. Bling Bling specializes in freshwater pearls and gemstones. Fabric By Designers, recently under new ownership, features sales on furs, linens, and silks, along with notions and buttons. Mokuba, a Japanese brand that arrived in Canada in 1987, is known for its ribbons and trims. The Wool House caters to those seeking high-quality natural textiles like cashmere, alpaca, and mohair. The Beadery offers a selection of quality wood bead strands and handmade jewelry, notable also for its pleasant ambiance. Hi Beads boasts a generous selection of beads, including discounted gemstones, Pandora, and Swarovski beads in its backroom. Affordable Textiles Inc. is recognizable by its oil drums filled with fabric rolls, spread across two stores. World Sew Centre, operating since 1979, sells sewing machines from brands like Brother and Singer, along with notions and fabrics. This guide serves as a valuable resource for anyone looking to source materials for fashion or home-related projects in Toronto's Queen West district. #QueenWest #FabricStores #BeadStores #TorontoFashionDistrict #TextileRetail #CraftingSupplies #LocalBusiness #FashionAndStyle

Humphries Weaving, a prominent British manufacturer, specializes in custom jacquard fabrics, offering bespoke weaving services tailored to specific project briefs. Their approach allows for customization in color, design, and composition. The company prioritizes design excellence and integrity, leveraging extensive knowledge, a rich archive, and technical expertise to produce fabrics for a diverse clientele. This includes prestigious institutions such as Royal Palaces and Historic Houses. While they predominantly focus on historical furnishings, Humphries Weaving also collaborates with contemporary interior design firms and provides fabrics for ceremonial gowns. A notable example of their work involves the authentic restoration of a listed building in Middelburg, The Netherlands. The client, engaged in researching historical fabric wall coverings, found Humphries Weaving's direct-to-customer approach appealing. They selected an 18th-century "Perquisite" damask from a range of gold and cream samples to create custom fabric, which was then woven in Sudbury, Suffolk. The clients undertook the installation of the fabric walling themselves and expressed satisfaction with the outcome, believing it effectively integrates the historical influences within the room. They credited Humphries Weaving for their assistance in navigating their historical pattern archive, as well as for their expertise, advice, and encouragement throughout the interior design process. Humphries Weaving's commitment to quality and historical accuracy is evident in their projects, reinforcing their position as a key player in the textile industry for both historical and contemporary applications. The company invites interested parties to explore their work further via their website and Instagram. #BritishTextileWeek #HumphriesWeaving #JacquardFabrics #BespokeTextiles #HistoricalFurnishings #InteriorDesign #TextileManufacturing #RestorationProjects #CustomFabrics

The practice of indigo blueprinting, known as Blaudruck in Austria and Germany, and Kékfestés, Modrotlač, and Modrotisk in Hungary, Slovakia, and the Czech Republic respectively, is a rare, centuries-old textile dyeing technique experiencing a resurgence. This tradition, which has significantly influenced the language, dress, and culture of several Central European nations, involves applying a dye-resist paste called Papp to cloth before dyeing it with indigo. Indigo, a powerful natural dye, has been used globally for millennia, with its application in textiles dating back at least 6,000 years. In Central Europe, the tradition evolved from using woad in the Bronze Age to indigo following its import by the Dutch East India Company in the 17th century. Indigo's cold-water dyeing process produced a deeper, more durable color than woad, leading to its widespread adoption for traditional costumes, or _tracht_. Blaudruck workshops, such as Original Blaudruck Koó in Austria's Burgenland state, run by third-generation craftsman Josef Koó and his wife Miriam, and Blaudruckerei Wagner in Upper Austria, which has been in business since 1878, are dedicated to preserving this intricate craft. The process is labor-intensive and takes weeks, beginning with the application of the Papp paste onto fabric using hand-crafted wooden blocks called _Modeln_. These blocks feature fine brass pins hammered into desired patterns, with only a few people in Europe still possessing the expertise to produce them. The exact recipe for Papp is a closely guarded secret, passed down orally, though gum arabic and clay are known ingredients. After patterns are transferred, the fabric air-dries for at least four weeks to allow the paste to set and harden. The dyeing stage involves dipping the fabric, stretched on a frame called a _Stern_, into a vat containing cold water, indigo, and lime. The oxidation process during dyeing causes the fabric to change from yellow to green and finally to the characteristic indigo blue, a phenomenon that has inspired the German idiom "_Du wirst Dein blaues Wunder erleben_" (you will experience your blue miracle), signifying a surprising event. The dyed linen is then washed in hot water to remove the resist paste, revealing a striking dye-free pattern. Blaudruck textiles were highly prized for their durability, with patterns that never rubbed off. They were also practical, as seen in reversible aprons (_Doppeldrucke_) that served different purposes, reducing laundry needs and making them a popular choice for dirndl dresses. The craft's influence extends to the German language, with phrases like "_Blaumachen_" (to make blue) and "_blauer Montag_" (blue Monday) originating from the artisans' practice of having idle time on Mondays during the multi-stage dyeing process, which they sometimes spent at pubs. "_Jemanden in die Mangel nehmen_" (take someone through the mangle), meaning to pressure someone, refers to the final step of smoothing the dried cloth with a 12-ton granite mangle. Despite its near extinction by the 1980s due to mass-produced alternatives, Blaudruck was added to Unesco's Representative List of the Intangible Cultural Heritage of Humanity in 2018. This recognition, along with the efforts of a small community of artisans, has led to a revival. Blaudruck products, once a cheap fabric for common people, are now considered a luxury, adorning home decor items like walls, pillowcases, and tablecloths in inns and hotels, and featured in specialized stores and museums. The annual International Dyers' Market in Gutau and experimental workshops further promote and preserve this unique craft, ensuring its living tradition continues to thrive. #Blaudruck #IndigoDyeing #TextileCraft #CentralEuropeanCulture #TraditionalArtistry #CulturalHeritage #HandicraftRevival #AustrianTradition #TextileDesign

Inter-Weave, located in Auckland, stands as New Zealand's sole commercial wool weaver, demonstrating resilience and adaptability in a challenging textile production landscape. The company, which has been in operation for nearly 50 years, manufactures a diverse range of wool products, including upholstery for airlines like Air New Zealand, Queensland Rail, and a US wholesaler, as well as blankets with Māori designs for local businesses. The factory also produces fabric for safety-wear and collaborates with local farmers to turn their spun wool into blankets for sale. Tracy March, managing director and co-owner, highlights the necessity of diversity for the mill's survival. Unlike European textile factories that specialize in a single process, Inter-Weave manages all stages of textile production—from weaving to wet and dry processing—under one roof. This comprehensive approach requires significant investment in various machinery sourced globally, emphasizing their self-reliance in New Zealand's isolated textile trade. The business, though profitable, faces continuous challenges. March recounts how the mill was initially established by Peter Woods, founder of Woolyarns, as an outlet for his spun wool. March, who began as a designer almost three decades ago, now co-owns the company and focuses on both reactive and proactive design strategies to meet client needs. The company either develops designs for market sale or translates client ideas into finished products. Despite New Zealand's abundance of wool, Inter-Weave often needs to import certain yarns, such as worsted yarn from India for upholstery fabric, because it is no longer produced domestically. However, March ensures that any imported wool is either Australian or New Zealand sourced. Recent challenges include the impact of Cyclone Gabrielle on East Coast farmers and wool scourers, which affected raw material supply. The most significant ongoing hurdle for Inter-Weave is attracting and retaining skilled workers. The firm employs 23 people, some of whom have been with the company for decades, like 73-year-old Soo Tutai, a weaver. Inter-Weave addresses the staffing issue by multi-skilling its workforce and training new employees to ensure continuity of operations. The article introduces Ray Porter, a dyer with 40 years of experience who recently joined the firm, noting the lack of formal training programs in the country for such specialized roles. Porter believes that women, with their keen eye for color and meticulousness, would excel in the dyeing profession despite the physically demanding nature of the job. Additionally, Caitlyn Jones, a textile graduate from Massey University, joined the company to gain experience in commercial weaving, expressing her surprise at finding such an opportunity in New Zealand. March emphasizes the need for young, passionate individuals who are dedicated to fabrics and wool to ensure the future of the industry. #WoolIndustry #TextileProduction #NewZealandManufacturing #InterWeave #WoolWeaving #SkilledLabor #LocalEconomy #SustainableTextiles #HomeDecor

Susan “Rabbit” Goody, founder of Thistle Hill Weavers in Cherry Valley, New York, has dedicated her life to the meticulous reproduction of historic textiles. Her workshop, established in 1989, specializes in creating fabrics that faithfully replicate the weave, texture, weight, and color of historical materials for a diverse clientele including filmmakers, television producers, historic houses, and high-end furniture and clothing companies. Goody’s unique skill set makes her an indispensable resource for costume designers seeking unparalleled historical accuracy in their productions. Goody's journey into textiles began in her teenage years, driven by a fascination with the weaving process. After earning a degree in cultural anthropology and ethnomusicology from Bennington College in 1972, she moved to rural New York, where she initially supported herself through farm work. In 1975, she purchased a 150-acre farmstead and, with her first husband, built a home inspired by a 1690 Connecticut house. She developed a successful hand-weaving business, selling cashmere-and-silk scarves to stores like Saks Fifth Avenue. Her expertise grew during her tenure as head of the domestic arts program and curator of textiles at the Farmers’ Museum in Cooperstown, where she became a recognized authority on early American textiles. Goody also founded the Textile History Forum, an annual conference that convenes researchers, museum professionals, and scholars. In 1989, she moved her operation into an old feed mill, later expanding to a purpose-built facility next to her home. Today, Thistle Hill Weavers employs seven individuals trained by Goody to operate nine mechanized shuttle looms, some dating back to the 1890s, alongside archaic equipment like warp winders and quillers. Goody’s commitment to authenticity is evident in her approach to acquiring and maintaining machinery. She has salvaged looms from closing textile mills across several states, often from the legendary industrial loom-maker Crompton & Knowles, and has taught herself to repair and operate them. This dedication ensures that her workshop can produce textiles with historical integrity. Her fabrics have graced numerous film and television productions, including "The Gilded Age," _Cinderella Man_, _Master and Commander_, _No Country for Old Men_, _Noah_, "John Adams," and "Turn: Washington’s Spies." She even hand-wove a replica of a fragment of the original Star-Spangled Banner for a Smithsonian event. When a costume designer approaches Thistle Hill, Goody employs a blend of historical knowledge and modern technology. She uses a computer-attached loom to experiment with weave patterns and selects threads to match specific weight, texture, and color requirements. Her process involves creating small woven samples, which are then expedited to clients for review. This meticulous attention to detail is crucial, as even subtle changes in yarn weight or color can significantly alter a fabric’s character, impacting an actor's movement and the overall authenticity of a period piece. For instance, a fabric she produced for Tom Hanks’ overcoat in _Road to Perdition_ had to be re-woven with lighter materials for rain scenes due to its original, historically accurate weight making it too heavy when wet. Goody’s reputation as a historian and her practical skills make her an invaluable collaborator. Costume designers like Joanna Johnston, who worked with Goody on Steven Spielberg’s _Lincoln_, praise her weaving abilities and extensive historical knowledge. Goody recreated Abraham Lincoln’s shawl for Daniel Day-Lewis based on a detailed study of the original held by the Smithsonian. Beyond film, her work extends to historic preservation, such as creating delicate white dimity curtains for Emily Dickinson’s bedroom and a brightly striped Venetian carpet. She also produces custom fabrics for diverse applications, including a 'Mandalorian' cloak, demonstrating the versatility of her workshop. At 72, Goody remains actively involved in her mill and farm, displaying no plans for retirement, driven by her passion and the unique, irreplaceable skills she possesses in bringing the past tangibly to life through textiles. #TextileHistory #HistoricTextiles #CostumeDesign #FilmProduction #ThistleHillWeavers #RabbitGoody #LoomWeaving #TextileConservation #CulturalHeritage

The quilter’s cottage in The 1820s Landscape at Beamish Museum showcases one of the many cottage industries prevalent in the 1800s, specifically quilting. This exhibit highlights the remarkable story of Joseph Hedley, a quilter whose distinctive work, featuring a border pattern known as “Old Joe’s Chain,” gained international recognition, with pieces reportedly sent as far as America. Hedley’s life, particularly the tragic circumstances of his murder in 1826, which became a nationally shocking event, is unusually well-documented for an ‘ordinary’ person from the Georgian era, providing a rich source of historical information. The museum's exhibit allows visitors to delve into the history of cottage industries, learn about the craft of quilting, and explore aspects of 19th-century crime and punishment. Additionally, the cottage features a period-appropriate garden with vegetables and a chicken coop, offering a glimpse into daily life. Joseph Hedley was born in 1750 and was believed to have been married to a woman 25 years his senior. He initially trained as a tailor before dedicating himself to quilting. Despite his considerable skill and widespread popularity as a quilt maker, he was considered to be a man of modest means. The Beamish Museum is fortunate to possess one of only three known surviving quilts attributed to Hedley, making it a significant part of their collection. Beamish Museum undertook the ambitious project of recreating Joe Hedley’s cottage, as the original structure was demolished in 1872. The reconstruction process was aided significantly by a drawing on a postcard produced after Hedley’s murder, which offered crucial details about the original home's appearance. Even a distinctive crack in the front wall, clearly visible in the 1820s drawing, was meticulously reproduced in the replica. An archaeological excavation conducted by Beamish staff and community volunteers in September 2015 at the original cottage site in Warden, near Hexham, yielded substantial findings. Within three days, the team uncovered the first stone blocks. The dig revealed extensive remains of the building, including the lowest courses of three of the four walls, a fireplace, an internal partition wall, and a section of the flagstone floor. Artifacts such as animal bone buttons, a horseshoe, and numerous iron nails were also discovered, providing further insights into Hedley's life and the cottage's construction. The recreation of the cottage at Beamish employed traditional techniques and skills, utilizing locally sourced materials. Approximately 1,400 bales of sustainably harvested heather from near Rothbury, Northumberland, were used for the thatched roof. A master thacher provided training to museum staff and volunteers, ensuring authenticity. Stone dating back over 200 years and 23 tonnes of oak for the roof frame were also sourced from Northumberland, close to the original cottage's location. The project involved active participation from local community members, including Richard Young, who lives near the original site. He contributed to various stages, from the archaeological dig and heather gathering to the stone laying ceremony, timber splitting, and preparing historical objects for display. The quilter’s cottage was the inaugural exhibit completed in July 2018 as part of the significant £20 million Remaking Beamish project. #QuiltersCottage #BeamishMuseum #JosephHedley #CottageIndustries #HistoricalReconstruction #GeorgianEra #ArchaeologicalDiscovery #TraditionalCraftsmanship

English paper piecing (EPP) is a visually appealing quilting technique suitable for crafters of all experience levels, including beginners. This method involves adhering small fabric hexagons around paper templates, which are then stitched together by hand to form larger textile pieces. These completed pieces can be integrated into various items such as cushions, quilts, and purses. Unlike many other sewing techniques, EPP does not necessitate the use of a sewing machine, making it accessible to individuals without specialized equipment. It also offers a practical way to utilize fabric scraps from other sewing projects, or to incorporate specific quilting fabrics. For those interested in learning more about the fundamentals of English paper piecing, comprehensive guides are available to provide detailed instructions. The market offers a wide array of EPP kits, ranging from projects that result in decorative cushions to smaller, more manageable items like needle cases designed for storing sewing essentials. This article presents a curated selection of popular English paper piecing kits currently available for purchase. The first featured kit is the Alice Caroline Hexagon Liberty Fabric Tana Lawn® Cushion Sewing Kit, priced at £28 and available at John Lewis. This kit utilizes high-quality Liberty fabric, known for its aesthetic appeal, and provides materials and instructions to create a cushion cover that can enhance the decor of a sofa or bed. For newcomers to EPP, a smaller project like the English paper piecing pin cushion kit, available for £10 on Etsy, is recommended. This kit includes fabric, instructions, and hexagon templates necessary for assembling a pin cushion, offering an entry-level experience into the technique. Another distinctive option from Alice Caroline is the Honey House Cushion Sewing Kit, retailing for £50 at John Lewis. This kit integrates EPP with other quilting techniques, such as appliqué, allowing for the creation of a stylish bee-themed cushion, providing a less traditional approach to the craft. The Dolly English Paper Pieced Cushion Kit, priced at £74 at Not On The High Street, is designed for those who have a passion for quilting. It combines EPP with other quilting methods to produce an elaborate cushion cover, with a choice of three color schemes to suit individual preferences. For enthusiasts looking to undertake a larger project, The Polly Quilt Pre-Cut Paper Template Kit, available for £34 on Etsy, offers an opportunity to create an entire quilt. This kit is particularly suitable as a first quilt project, supplying all the necessary fabric, pre-cut for convenience, to construct a bedspread. Lastly, the Alice Caroline Liberty Needle Case Kit, costing £20 at alicecaroline.com, is highlighted for its use of Liberty fabric. This kit results in a functional and attractive needle case, ideal for organizing and storing small sewing items, and serving as a useful accessory for ongoing sewing projects. #EnglishPaperPiecing #Quilting #SewingKits #Crafting #DIYHomeDecor #FabricCrafts #HandStitching #CushionMaking #Needlework

Discount Fabric Outlet, located in Clawson, Michigan, is presented as a premier destination for crafters and seamstresses seeking a wide variety of fabrics at competitive prices. The establishment is situated at 303 W 14 Mile Road and is recognized by some as the largest and most comprehensive fabric outlet in the state. Upon arrival, visitors are greeted by an extensive collection of fabrics, which can be overwhelming due to its sheer scale and diversity. The store's unique selling proposition lies in its consistent pricing, with most fabrics available for $4.99 to $5.99 per yard, positioning it as an attractive option for budget-conscious creators. The interior of the Discount Fabric Outlet is characterized by numerous aisles filled with a vast array of unique patterns and textile options. The selection includes everything from delicate lace to durable upholstery fabric and various vinyls, catering to a broad spectrum of crafting needs. Whether the project involves designing children's clothing, creating new home drapery, or reupholstering furniture, the store aims to provide suitable materials. The sheer volume of choices suggests that a visitor could spend a considerable amount of time exploring the inventory without fully experiencing all that is on offer. Beyond the extensive product range, the article highlights the presence of helpful staff available to assist customers with their selections, contributing to a positive shopping experience. The store operates during specific hours, and prospective visitors are advised to check the Discount Fabric Outlet's Facebook page for the most current information regarding operating times. This proactive measure ensures that crafters can plan their visits effectively and make the most of their time at the warehouse. Overall, the Discount Fabric Outlet in Clawson, Michigan, is portrayed as a creative haven, capable of inspiring both novice crafters and experienced seamstresses. Its combination of vast selection, affordable pricing, and supportive environment makes it a notable resource within Michigan's crafting community. The store's reputation as a significant fabric supplier underscores its importance for anyone undertaking textile-based projects. #MichiganCrafts #FabricWarehouse #DiscountFabric #CraftingSupplies #SewingCommunity #HomeDecorFabric #TextileShopping #ClawsonMichigan #DIYProjects

The "Crafting Topographies" exhibition showcases hand-embroidered wall art created by Brinda Dudhat of Morii Design, celebrating traditional Indian weaving techniques and the significant role of women artisans. Curated by designer Suchi Reddy and hosted at Salon Design, the exhibition highlights the historical and cultural richness embedded in these fiber art pieces, which utilize dyeing, weaving, stitching, and embroidery to create intricate, story-telling topographies. Brinda Dudhat's Morii Design operates on principles of collaboration, sustainability, and community engagement. The studio works with over 80 artisans across India, ensuring ethical practices and fair, living wages for their skilled work. Morii Design is committed to local sourcing and preserving authentic traditional techniques, making each piece respectful of its heritage and the labor involved. The inherent slowness and meditative nature of hand-embroidery infuse each artwork with care, love, and attention, reflecting the energy of its creation. Suchi Reddy, the exhibition's curator, emphasizes Morii Design's transformative approach to Indian craftsmanship. Reddy notes that the studio's dedication to showcasing age-old techniques, particularly those rooted in the wisdom and artistry of Indian women, fosters a powerful dialogue between the past and present. She views the exhibition as more than just textiles; it is a celebration of the stories, skills, and soul embedded within every thread, offering a contemporary lens through which to appreciate Indian craftsmanship. Reddy's own design philosophy, evident in her studio Reddymade, focuses on neuroaesthetics—the study of how environmental design impacts the brain. Her guiding principle, "form follows feeling," underscores the deep connection between human experience and the built environment. This perspective aligns with the ethos of "Crafting Topographies," which seeks to expose the profound, often overlooked, work of women artisans throughout centuries. The continuous, meditative movements of artisans' hands over the fabric imbue the pieces with an inherent energy and history. Salon Design, a contemporary art gallery in New York City's Tribeca, provides an elegant setting for the exhibition. The gallery, founded by designer and art advisor Amanda Pratt, frames the works in salon-style vignettes, allowing viewers to experience the art in an intimate and familiar manner, akin to walking through a brownstone. This presentation elevates the contemporary pieces, making them both accessible and highly collectible. The exhibition thus not only displays beautiful art but also draws attention to the cultural significance and meticulous process behind each creation. #HandEmbroideredArt #IndianCraftsmanship #MoriiDesign #SuchiReddy #SalonDesign #FiberArt #TextileArt #EthicalDesign #CulturalHeritage

Echo Petersen, founder of E Lee Designs, has found a creative outlet for her artistic passion by creating a variety of home decor and kitchen items featuring unique swirled acrylic paint designs. Petersen's work, which includes handblown coasters, trivets, charcuterie boards, and holiday ornaments, will be showcased at the 605 Made Holiday Market in Sioux Falls. Her designs are characterized by their vibrant colors and intricate patterns, achieved through a technique of blowing acrylic paints with drinking straws onto surfaces like ceramic tiles, wooden cutting boards, and canvases. This method allows colors to remain separate and distinct without blending, resulting in visually striking pieces. Petersen's journey into this craft began after she retired from her career as a financial assistant. Inspired by a set of handblown coasters she encountered during a trip to Fort Collins, Colorado, she dedicated herself to learning and mastering the technique. This involved extensive research through online videos and significant experimentation to develop her own proprietary mix of acrylic artist paints. Her husband, Bryce, supports her endeavors by creating custom oak frames for her canvas pieces. Each item crafted by Petersen undergoes a meticulous, multi-stage process that spans approximately one week. After the initial paint application, the piece requires time to dry and for the paint to cure. Following this, Petersen prepares the item by sanding its back and carefully taping it before applying a resin layer, which then takes an additional three days to dry. This commitment to quality ensures the durability and longevity of her handmade products. E Lee Designs offers a range of items, from small porcelain tile coasters to larger six-inch porcelain trivets and various wooden cutting boards. A particularly popular item that frequently sells out is her bamboo charcuterie board, which features pullout drawers and includes small wooden utensils, all adorned with her signature handblown paint designs. Petersen prioritizes using high-quality materials to ensure customer satisfaction and product resilience. In her creative process, Petersen pays close attention to current interior design trends, specifically monitoring popular colors in furniture and granite countertops. This awareness guides her selection of hues, ensuring her designs complement contemporary home aesthetics. She also incorporates micro powder glitter into her paints to add a subtle shimmer to the finished pieces. Popular color palettes in her collection include gray-beige, purple, and various autumn colors, while her personal favorite combination involves navy blue, moss green, and gold. This will be E Lee Designs' first participation in the 605 Made Holiday Market, though Petersen has previously showcased her work at vendor shows across South Dakota in cities such as Brookings, Pierre, Aberdeen, and Yankton. The 605 Made Holiday Market, an event organized by Knotty Gnome Variety & Salvage, Sew Doggy Boutique, and SiouxFalls.Business, and sponsored by The First National Bank in Sioux Falls and Dakota Business Finance, will feature over 40 makers. It is scheduled for Saturday, December 7, from 10 a.m. to 4 p.m. at Cherapa Place in downtown Sioux Falls, with free admission for attendees. #E Lee Designs #HandmadeDecor #AcrylicPouring #HomeDecor #HolidayMarket #Craftsmanship #ArtisanProducts #SmallBusiness #SiouxFallsEvents

Woven fabrics contribute significantly to interior design by introducing softness, warmth, and a subtle textural element that printed cloths cannot fully replicate. The inherent tactility of woven textiles often gets lost in two-dimensional images, making it challenging to distinguish them from printed patterns. However, woven cloth possesses superior strength and offers a comforting quality due to its integrated design, ensuring its longevity. Ireland, with its rich history in weaving, continues to host several long-standing companies that are adapting to modern demands. Foxford Woollen Mills, established in 1892 in Co Mayo, exemplifies this adaptation. While traditional blankets have seen a decline in popularity due to the rise of duvets, throws have experienced a resurgence, particularly during the Covid-19 pandemic. Joe Queenan of Foxford Woollen Mills notes an increased demand, attributing it to both a surge in outdoor dining and a consumer desire to support Irish businesses. He highlights that in times of crisis, consumers gravitate towards reliable, ethically produced goods, willing to pay a premium for quality. This trend is evident in the popularity of Foxford’s high-end cashmere throws, as well as the renewed interest in mohair products. Similarly, John Hanly, a family-run business since 1893 in Ballyartella, Co Tipperary, primarily known for supplying international fashion houses, also offers a contemporary homeware range. Their collection features throws in lambswool, cashmere, and mohair, showcasing vibrant colors. While they rarely receive requests for upholstery fabric, Brian Hanly, the current head, expresses openness to exploring such opportunities, acknowledging the rigorous testing required for durability and fire resistance in upholstery. The viability of short production runs for upholstery fabric, however, remains a challenge. Mourne Textiles in Co Down stands out as one of the few Irish weavers providing upholstery fabric by the meter. As an artisan company specializing in hand-woven products, they accommodate smaller production runs, which impacts pricing. In contrast, Botany Weaving, founded in 1934 with factories in Dublin and Donegal, caters to large-scale contracts. They supply woven textiles for aircraft upholstery, curtains, and carpets for over 120 airlines. Recognizing a shift in market demand, Botany Weaving has expanded into contract furnishing. David Lawson of Botany Weaving mentions that some of their durable, well-designed, and predominantly wool fabrics could be suitable for residential use, often sold under other furniture brands rather than their own. Interior designer Oisín MacManus of Ollas Design emphasizes the role of woven textiles in adding texture to interior spaces. He notes that woven items, typically incorporating multiple colors and materials, invite interaction and add depth to a room, unlike flat surfaces. MacManus uses a sofa upholstered in Glen Marsh from Botany Weaving as an example, highlighting how its varied colors create visual interest and texture. Margo Selby, an English weaver and textile designer, collaborates with industrial mills while also creating her own woven artworks. She stresses the craft inherent in setting machines to produce fabric and the skill of textile technicians. Selby is launching a collection of 23 curtain and Roman blind fabrics with Hillarys, a British brand known for its fitting and consultation services. Her designs are geometric, featuring a mid-century color palette, and are specifically tailored for contemporary homes. Selby observes that people often struggle with selecting window dressings for modern builds, often opting for generic solutions. Her collection, available in ochre and silver, teal and green, and indigo and ink, offers strong yet minimal patterns designed to complement contemporary architecture and add a vibrant touch to interiors. The collection is set to launch on October 12, with prices starting from €289 for curtains and €189 for Roman blinds, inclusive of measuring and fitting services. #WovenFabrics #InteriorDesign #TextileDesign #IrishWeaving #HomeDecor #MargoSelby #FoxfordWoollenMills #JohnHanly #BotanyWeaving

This article highlights the top fabric stores in Chicago, catering to a range of needs from apparel to home upholstery and various DIY projects. The selection includes establishments that offer extensive inventories, competitive pricing, and opportunities for skill development through classes. These stores serve a diverse clientele, from fashion students and professional designers to hobbyists and individuals embarking on their first sewing projects. Textile Discount Outlet in Pilsen is presented as a massive discount warehouse with a vast selection of apparel, upholstery, drapery, specialty, and outdoor fabrics at low prices, making it a popular destination for fashion students and designers. The Needle Shop in North Center is noted for its focus on modern fabrics and a variety of classes, including sewing basics, upholstery, and hand embroidery, and also offers wholesale pricing for businesses. Leonard Adler & Company, established in 1903 in Albany Park, specializes in garment construction supplies, offering thousands of buttons, zippers, and threads, alongside a smaller selection of menswear fabrics. This establishment is a preferred provider for local design programs, schools, and universities, indicating its reputable standing in the industry. Fishman's Fabrics in West Loop, with over a century of experience, is recognized for its high-end apparel and interior fabrics, offering a 10,000-square-foot warehouse and showroom. The store provides free samples and custom orders for specialty fabrics. New Rainbow Fabrics in West Loop is a family-owned store favored by design students and sewing enthusiasts for its friendly service and fair prices on apparel fabrics, including lace, cottons, chiffons, and silks, available by the yard or bolt. JoAnn Fabric in Bucktown, a large chain store, offers a wide array of fabrics, machines, patterns, supplies, and classes covering sewing, home decor, jewelry-making, and quilting, known for its low prices and extended hours. Chicago Fabric Yarn & Button, located downtown, provides a convenient option with a large, though sometimes disorganized, selection of fabrics. Supreme Novelty Fabrics in West Lawn, with over 80 years of business, stands out for its unique custom fabric printing services, extensive bridal fabric collection, and intricate beaded laces. The article underscores the accessibility of resources for both novice and experienced sewers, emphasizing the local establishments that foster creativity and skill development in textile arts. #FabricStores #ChicagoShopping #SewingSupplies #DIYProjects #TextileArts #HomeDecor #UpholsteryFabrics #ApparelFabrics #CraftStores

The article delves into the ancient Japanese dyeing technique of shibori, focusing on artist Jennifer Falkowski's passion and expertise in this craft, particularly with indigo dye. Falkowski describes indigo as "magical," highlighting the unique chemical transformation where a yellow-green liquid turns blue upon oxidation when fabric is exposed to air. This fascinating process distinguishes indigo dyeing from conventional fabric dyeing methods. Shibori, one of Japan's oldest dyeing techniques, involves manipulating fabric through folding, clamping, stitching, or blocking sections to create intricate patterns by preventing dye from reaching certain areas. While similar in principle to tie-dye, shibori offers a broader range of complex patterns and textures. The historical significance of indigo in Japanese culture is also touched upon, noting its use for thousands of years and its reputed antibacterial properties, which led samurai to wear indigo-dyed fabrics under their armor for protection against infection from battle wounds. Although other dyes can be used for shibori, indigo remains the traditional choice due to its rich history and distinctive color. Falkowski initially explored regular fabric dyes but found them uninspiring due to their straightforward color-changing nature. Her discovery of shibori provided a creative outlet that offered more depth and unpredictability. Recognizing the messy nature of indigo dyeing, which typically necessitates an outdoor workspace, Falkowski collaborates with local businesses such as Blue Bar Quilts in Middleton, The Electric Needle in Madison, and Mill House Quilts in Waunakee. These partnerships enable her to host classes for individuals across various experience levels, fostering a communal learning environment for this intricate art form. She emphasizes that shibori encourages participants to embrace imperfection and relinquish the need for precise control over the outcome, making it a liberating artistic experience. Falkowski not only teaches shibori but also markets her indigo-dyed creations in the Madison area. Her product line includes infinity scarves sold at The Regal Find in Middleton, along with unique baby onesies featuring one-of-a-kind patterns. At Blue Bar Quilts, customers can purchase her indigo fabrics pre-cut for quilt makers, as well as upcycled tunics. The artist's dedication to the craft extends to more immersive experiences, as evidenced by her sold-out weekend-long "Deep Into Indigo Retreat" in Westby, Wisconsin. Her upcoming local class at The Electric Needle on March 24 will cover the history and chemistry of indigo, demonstrate various shibori pattern-making techniques, and culminate in the exciting reveal of the dyed fabrics. The article concludes by providing details for those interested in attending her Shibori Experience Class, including the date, time, cost, and location. #Shibori #IndigoDyeing #JapaneseCraft #FabricArt #TextileDesign #DIYCrafts #JenniferFalkowski #MadisonWisconsin