The real history of tartan, from the Scottish Highlands to the streets of Tokyo

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

This article explores the enduring appeal and resurgence of tartan in home decor, tracing its rich history from ancient times to its current status as a fashionable interior design element. Originating as an identification system for Highland clans in 16th-century Scotland, tartan later became a symbol of resistance during Jacobite uprisings, even facing a ban after the Battle of Culloden in 1745. Its decorative revival began in the Victorian era, notably popularized by Queen Victoria's use of tartan in Balmoral Castle, bridging its rebellious past with a new association of royalty and acclaimed social standing. Designer Vivienne Westwood's observation that "Every fabric that you look at in England has a charge of content" aptly captures tartan's layered historical significance, making it a compelling choice for infusing homes with a sense of history and character. The article highlights that tartan is poised for a significant resurgence in home interiors, as affirmed by Mark Hogarth, Global Brand Ambassador for Harris Tweed Hebrides. Hogarth notes the pattern's consistent presence on fashion runways and its complex but growing transition into the interiors market. He observes a trend towards bolder design choices, where tartan's inherent heritage and style make it a preferred fabric for major developments and A-list designers, ranging from subtle accents like a chair and cushion to comprehensive applications such as curtains and wallpaper. The article positions tartan as a design choice that offers cultural and historical depth, drawing parallels between its use in high fashion by designers like Dior, Westwood, and McQueen and its increasing adoption in hotels and residential spaces. To guide readers on incorporating this heritage design into their homes, the article presents thirteen diverse and creative ideas. These suggestions include using tartan as a cozy bedspread or throw in living rooms to add depth to neutral schemes, and layering it with other heritage designs like tapestries to create rich visual textures. Other ideas involve crafting thoughtful vignettes with tartan blankets as backdrops for cherished items and employing tartan in tablescapes, where its bold colors and intricate patterns can bring warmth and sophistication to dining. The article also recommends more unconventional uses, such as incorporating tartan sink skirts as part of the 'kitschen' trend for a rustic touch, and using tartan for window treatments to brighten spaces. Further suggestions explore playing with unconventional tartan palettes, like using a violet check blanket to introduce new shades, and integrating stylish tartan tiles from designers like Petra Palumbo for contemporary accents. For larger statements, the article proposes using plaid carpets or rugs, drawing inspiration from Balmoral Castle, and even painting tartan patterns directly onto walls for an ambitious design. Practical applications include incorporating tartan into boot rooms through bench cushions or stacked blankets, and using tartan upholstery for statement furniture pieces like wingback armchairs, often with a modern twist. The versatility of tartan is also showcased through its multi-purpose use, such as a picnic blanket repurposed as a draught excluder, illustrating how this historic pattern can be adapted to various decorative contexts to create a home imbued with history and style. #TartanDecor #HeritageDesign #HomeInteriors #CountryLiving #VictorianStyle #TextileTrends #DecoratingIdeas #RusticHome #FabricHistory

Tartan, a pattern with a rich history beyond Scottish kilts, offers a versatile approach to home decoration, particularly during colder months. To begin incorporating tartan, experts suggest opting for traditional rich red patterns, especially for those new to bold designs, as brighter tartans can be overwhelming. Darker options provide a more subtle introduction. Tartan is particularly fitting for festive decor. While a complete furniture overhaul is impractical, existing pieces can be enhanced with tartan accents. Armchairs or accent chairs in red, green, or even upholstered in tartan naturally complement a traditional or woodland alpine aesthetic. For those without such pieces, cosy wool cushions and throws in tartan patterns can introduce these colours and textures. Chunky knits and herringbone fabrics further complement tartan, alongside accent pieces featuring antler or star designs for a gentle festive touch. Beyond Christmas, small applications of tartan can significantly impact a living space. Integrating two or three tartan scatter cushions can refresh a living room, but moderation is key due to the pattern's boldness. Tartan throws, draped over sofas and beds, offer another way to incorporate the style. A classic tartan rug can add character and a striking visual element to any room. Additionally, dining areas can be updated with tartan crockery or tableware. While red is a classic tartan colour, other hues like blue or navy provide a contemporary alternative. Blue tartan can modernize decor without dominating existing interiors, offering a sharp and current aesthetic. Tartan can also be applied to walls through wallpaper, an increasingly popular option during winter. For instance, the Fairburn tartan wallpaper from Arthouse, with its subtly textured background, offers a traditional yet interesting design and has become a highly searched item online. These various methods demonstrate how tartan can be effectively integrated into home decor, offering warmth, character, and style. #TartanDecor #HomeDecor #InteriorDesign #WinterDecor #TraditionalStyle #AccentDecor #PatternMixing #FestiveDecor #TextileDesign

Tartan plaid, a traditional pattern with historical ties to Scottish clans, is experiencing a significant resurgence in home decor for 2026. While often conflated with plaid, which refers to any checkered or striped pattern, tartan is distinguished by its interlaced, multicolored design that typically represents specific Scottish clans. Designer Kristina Khersonsky notes that contemporary tartan iterations move beyond traditional green-and-red combinations, embracing new colors and patterns that feel more like a statement rather than a historical reference. This textile has a rich and varied cultural history, transitioning from a symbol of Scottish royalty to a preppy favorite through brands like Ralph Lauren, and even making its way into punk fashion with icons like The Clash and Vivienne Westwood. The 1995 film "Clueless" further cemented tartan's association with preppy aesthetics among a younger audience. Integrating tartan into home decor requires thoughtful consideration, similar to how it's styled in fashion. To identify a true tartan, one should look for the same sequence of colored stripes running both horizontally and vertically. While individuals with Scottish heritage might opt for a tartan representing their clan, others can choose patterns based on colors that complement their existing home aesthetic. Popular choices include the Royal Stewart tartan, historically the official tartan of the royal family, until Prince Albert introduced the Balmoral pattern in the mid-19th century. The versatility of tartan extends to various materials, from warm wool blankets suitable for colder climates to lighter linen blends ideal for warmer months. For a more immersive application, tartan wallpaper can be used to cover entire rooms, creating a distinct atmosphere. One of tartan's appealing characteristics is its ability to blend harmoniously with other patterns. In fashion, it is frequently paired with solid colors, checks, stripes, or classic patterns like houndstooth. This principle can be applied to home decor, allowing for creative pattern mixing. For a bold and dynamic look, different tartan plaids can be combined within a single room through various throw pillows. Alternatively, if a single tartan pattern is preferred, it can be paired with floral or polka-dot patterns in complementary colorways to highlight specific pieces and add visual interest. Such bold design choices can imbue a home with a busy yet purposeful ambiance. Conversely, introducing one or two tartan elements into solid-colored spaces can create a timeless, minimalist vibe that appeals to diverse tastes. The key lies in understanding the context and impact of tartan within a broader design scheme, ensuring it enhances the overall aesthetic of the home. #TartanTrend #HomeDecor2026 #TextileTrends #InteriorDesign #PlaidDecor #FashionToHome #PatternMixing #DesignInspiration

The term 'chintzy' is often associated with outdated or gaudy floral patterns, a connotation that originated from George Eliot's 1851 letter, where she likely referenced inferior imitations rather than authentic chintz. Historically, true chintz, a vivid and luxurious fabric, is defined by its method of production using mordants and resists to set dyes on cotton, a process that continues to mystify modern science. Originating thousands of years ago in India and Pakistan, the word 'chint' means 'spotted' or 'variegated'. Over time, especially in the 18th century, the English-speaking world adopted 'chintz' to refer to industrially printed cottons, linking it with floral designs and glazing. This glazing, often seen in more expensive Indian chintz, provided a stiff, luxurious feel. Indian chintz, known for its intricate hand-produced patterns, either block-printed or through _kalamkari_ (pen-work), gained global prominence after Vasco da Gama's voyage to Calicut in 1498. European traders, initially trading Indian chintz within the Indian Ocean region due to lack of demand for their own textiles, soon recognized its profit potential in Europe. This led to the 'calico craze' by the late 17th century. Initially, chintz was used for elite home furnishings, such as wallcoverings and bedcovers, reflecting an informal and feminine aesthetic. Around the mid-17th century, chintz transitioned into fashion. While some demand for traditional Indian designs remained, European traders started influencing patterns to align with Western aesthetics. Indian chintz became the first mass fashion, adopted by various social classes across Europe, with working women using cast-off furnishing fabrics for clothing. This widespread popularity, however, sparked protests and riots from European textile manufacturers who felt threatened. Consequently, chintz was banned in France from 1686 to 1759 and partially in Britain from 1700 to 1774, alongside restrictions in other European nations and the Ottoman Empire. Despite these bans and threats of execution, smuggling ensured its continued use. European manufacturers eventually began imitating chintz, leading to technological innovations that made Britain a leading textile printer. However, Britain remained reliant on India for raw cotton. To circumvent intermediaries and secure cotton supply, British traders resorted to unethical practices, including using enslaved Africans in the Americas to cultivate cotton, contributing to the Industrial Revolution. Following the US Declaration of Independence in 1776, chintz's appeal in the West diminished due to changing minimalist fashion trends and the British Arts and Crafts movement's rejection of industrial production in favor of handicrafts. Despite this, chintz remained in demand for interior design and chinaware, particularly among British expatriates in colonial India, and saw growing popularity for clothing in markets like Iran. Chintz has experienced several comebacks in Western fashion and interior design, notably in the 1960s and 1980s, championed by designers like Mario Buatta and brands like Laura Ashley. However, Ikea's 1996 'Chuck Out Your Chintz' campaign aimed to end this resurgence. Despite its often 'chintzy' reputation, contemporary designers in India, such as Sufiyan Khatri and Rajesh Pratap Singh, continue to utilize indigenous textiles like chintz. In the West, designers like Sarah Burton for Alexander McQueen, Richard Quinn, Erdem Moralıoğlu, and Betsey Johnson have embraced or been inspired by chintz. Betsey Johnson and Cath Kidston express a lasting fascination with its versatility and garden-like aesthetic, underscoring its enduring appeal in both fashion and home decor, ensuring it will periodically resurface in style. #ChintzHistory #TextileIndustry #FashionEvolution #ColonialismImpact #FabricDesign #HomeDecorTrends #IndustrialRevolution #CulturalExchange

Taschen's "The Book of Printed Fabrics. From the 16th century until today" is a significant publication that offers an in-depth exploration of printed textiles. This two-volume work showcases the extensive collection of the Musée de l’Impression sur étoffes (The Museum of Printed Fabrics) located in Mulhouse, France, which is renowned as the world's most important repository of printed textiles, featuring contributions from four continents. The museum, established in the 1800s, stands as a testament to the thriving fabric printing industry of its time. The book, meticulously compiled by author Aziza Gril-Mariotte, comprises approximately 900 images spread across 888 pages. It includes accompanying texts in English, French, and German, designed to provide a comprehensive and enriching experience for both casual readers and researchers. The first volume delves into a wide array of international designs, highlighting textiles from regions such as India and Japan. This volume features a diverse range of patterns, from intricate floral motifs to abstract designs, including classic paisleys and sophisticated batik-inspired gradients. A notable section in this volume explores the profound impact of industrialization on the evolution of printing processes and, consequently, on fabric design. Moving into the second volume, the focus shifts to the advanced techniques and creative innovations in fabric production during the nineteenth and twentieth centuries. This section reveals how many designs, color palettes, and methods from these earlier periods possess a surprisingly contemporary aesthetic, often appearing as if they could have originated in the digital age. Examples such as the Ground Patterns created by Mizzi Ebert and Adele Bettelheim in 1904, alongside dress fabric samples from 1880, demonstrate a foresight in design that resonates with modern sensibilities. The book is currently available for pre-order through Taschen's online store, priced at 200 USD. This publication is not merely a collection of images and historical data; it serves as a valuable resource for understanding the artistic, cultural, and technological journey of printed fabrics. It underscores the enduring legacy of textile design and its continuous influence on aesthetics across different eras. The work emphasizes the historical significance of the Mulhouse museum's collection, positioning it as a crucial reference for anyone interested in the history and development of printed textiles. #TextileHistory #PrintedFabrics #TaschenBooks #MuséeDeLImpressionSurEtoffes #FabricDesign #DesignHistory #TextileArt #MulhouseMuseum #ArtBooks

The article explores the rich history and intricate artistry of Central Asian ikat textiles, currently featured in the Smithsonian exhibition “To Dye For.” Ikat, a fabric known for its vibrant colors and geometric patterns, has been a significant symbol of status and wealth among the seminomadic peoples of Central Asia throughout the 19th century. The exhibition, on view at the Arthur M. Sackler Gallery in Washington, D.C., showcases nearly 70 pieces of 19th-century ikat art, donated by private collector Guido Goldman. This donation marks 20 years since Goldman first introduced ikat to many Americans at the same venue, in what was the museum's inaugural textile show. Massumeh Farhad, chief curator of the Freer and Sackler Galleries, highlights that while the ikat technique, derived from an Indonesian word for “tie,” has roots in Indonesia, India, and Japan, it was in Central Asia, particularly Uzbekistan, where the craft reached its pinnacle of perfection. Farhad emphasizes the boldness and arresting quality of Central Asian ikats. The creation of an ikat design is a meticulous and time-consuming process, demanding a clear vision of the final color pattern before any weaving begins. The process involves soaking warp threads in a series of up to eight dye vats. Before each immersion, specific sections of the warp are strategically bound with dye-resistant greasy thread, exposing only the portions intended for coloring. By repeatedly repositioning these threads, textile makers gradually imbue the entire warp with a spectrum of tones. Highly skilled designers may subject parts of the material to multiple immersions to achieve blended colors, such as orange from red and yellow, or purple from red and blue. Once the multi-colored warp is prepared, it is stretched onto a loom and combined with a cotton or silk weft, resulting in a long, narrow textile featuring the designer’s repeating geometric pattern. These textiles are then fashioned into distinctive coats or used as two-dimensional wall hangings. A fascinating aspect of this collaborative process in Central Asia is the involvement of different ethnic groups at various stages. Farhad notes that Tajiks were responsible for yellow and red dyes, the Jewish community imported indigo, and Uzbeks handled the weaving, illustrating a complex, collaborative effort. The exhibition is structured to progressively display the increasing complexity and vibrancy of ikat designs. The initial gallery features simple wall hangings with limited colors, gradually leading to more intricate pieces suggesting a greater number of dye baths. The highlight of the show is a room dedicated to ikat coats, distinguished by their unique style and elaborate linings of Russian cotton and Indian chintz. Farhad explains that among the mobile Central Asian populations of the 19th century, clothing served as a critical status symbol, as wealth was often carried or worn. Ikat coats, therefore, were a direct representation of an individual's status and importance. The exhibition also explores the contemporary influence of ikat fashion, featuring works by designers like Oscar de la Renta. De la Renta, a prominent figure in haute couture, drew significant inspiration from ikat patterns, helping to popularize the aesthetic in America. His pieces, such as a 2005 trench coat and a 2013 floral gown, are displayed in the coat room. However, de la Renta's designs employed modern manufacturing techniques rather than the traditional ikat method, lacking the characteristic panel divisions often seen in historical ikat textiles. This modern adaptation has contributed to a global surge in ikat patterning, making it ubiquitous in contemporary home furnishings and products, from Crate & Barrel couches to Target items. “To Dye For” serves as an educational reminder of the arduous labor and artistic vision behind these widely recognized patterns, connecting the historical origins of ikat with its pervasive presence in modern design. A complementary exhibition, “Binding the Clouds,” is also on view at George Washington University’s Textile Museum. #Ikat #CentralAsianTextiles #TextileHistory #SmithsonianExhibition #ArthurMSacklerGallery #GuidoGoldman #MassumehFarhad #DyeingTechnique #OscarDeLaRenta

The Ditchling Museum of Art + Craft in Ditchling, England, is currently hosting an exhibition titled "Double Weave: Bourne and Allen’s Modernist Textiles," which aims to reintroduce the British textile company Bourne and Allen, and its founders Hilary Bourne and Barbara Allen, into the annals of design history. Active in the mid-1900s, Bourne and Allen produced a range of iconic woven fabrics, yet their contributions have largely faded from public memory. This retrospective seeks to correct that oversight by highlighting their innovative craftsmanship and personal story. Hilary Bourne and Barbara Allen were partners in both life and business, and their company was known for blending modernist aesthetics with traditional craft techniques. They frequently utilized natural materials and plant dyes, sourcing wools from across the United Kingdom. Their products, which included woven scarves, tweeds, and furnishing fabrics, were carried by prestigious department stores and design houses such as Liberty of London, Heal’s, and Fortnum and Mason. Bourne and Allen also played a significant role in major theatrical and film productions of their era. Notably, they designed expansive stage curtains and furnishing fabrics for the Royal Festival Hall in London, built for the 1951 Festival of Britain. Their work extended to Hollywood, where they produced 52,000 yards of custom-woven fabric for the costumes of 452 actors and 25,000 extras in the epic film *Ben-Hur*. The exhibition, which is the culmination of extensive archival research conducted by a team of ten, delves into the duo’s work, their lives, and their four-decade-long relationship. Various sections of the show explore their distinct weaving techniques, the materials they employed, their global inspirations, their personal backgrounds, and key career achievements. The displayed fabrics, encompassing both swatches and longer lengths, illustrate Bourne and Allen’s unique aesthetic, characterized by bright primary colors derived from natural dyes like indigo (blue), madder (red), and weld (yellow), contrasted with the natural hues of undyed sheep’s wool. The use of Lurex alongside dark yarns and varied weaving techniques such as plain weave, double weave, chenille, ikat, and floats of thick hand-spun yarns, created alluring textures. The exhibition contextualizes Bourne and Allen within a vibrant, women-centered community of craftspeople in England that predated World War II. A display titled “Map of intimacies: Women’s networks of love, friendship, and textile practice” visually charts the collaborative and intimate relationships among the women—friends, lovers, companions, business partners, and sisters—who influenced Bourne’s and Allen’s lives and work. To demonstrate the enduring relevance of Bourne and Allen's legacy, the exhibition incorporates commissions from two contemporary artists, Poppy Fuller Abbott and Omeima Mudawi-Rowlings. Abbott, a weaver from Sussex, created a piece inspired by the mid-century designers' techniques using indigo-dyed linen with silk floats, and also wove textile samples that replicate Bourne and Allen's fabrics for visitors to handle. A film in a dedicated viewing room documents Abbott’s weaving process. Mudawi-Rowlings's site-specific installation, "Drawn to the Light (نور)," features long swathes of silk dyed with plant materials and printed with personal symbols, reflecting themes of interconnectedness and personal identity amidst global events. Ultimately, "Double Weave" serves as a meditation on themes of love, loss, home, and land. It underscores how the act of weaving, both literally and metaphorically, involves intertwining traditions across time and place, fostering a continuous dialogue through generations in the form of fabric. #TextileHistory #MidCenturyDesign #ModernistTextiles #BritishDesign #Craftsmanship #QueerHistory #DitchlingMuseum #TextileArt #ExhibitionReview

This blog post details an experimental lab class conducted as part of the V&A;/RCA History of Design MA course, where students recreated an early modern furniture varnish recipe using linseed oil and amber. The 'Thinking and Experiencing Techne' course, a satellite project of Columbia University's 'Making and Knowing' initiative and a collaboration with Dr. Spike Bucklow from the Hamilton Kerr Institute, aimed to provide students with practical experience in historical making techniques. The focus was on understanding early modern artisan knowledge and skills through direct engagement with materials and processes. The specific recipe chosen was from a sixteenth-century French manuscript, notable for its rudimentary instructions and lack of precise measurements, prompting students to rely on sensory observation and intuition, mirroring historical practices. The process was divided into three main stages: preparation of the amber, heating the linseed oil, and combining the two. For the amber preparation, raw amber was manually ground into a fine powder using a pestle and mortar, a step that, while not explicitly detailed in the original recipe, was necessary for better melting and combination. Health and safety measures, such as wearing goggles and masks, were implemented due to the fine dust produced. Students noted the sweet, treacly aroma of the amber, a reminder of its origins as tree sap, and observed its natural hard, translucent, and golden qualities, which made it an ideal wood finish. The second stage involved heating the linseed oil to 200°C. A small camping burner was used, and the oil was stirred regularly for even heating. A tin foil jacket helped maintain a steady temperature. As the oil heated, its aroma intensified, becoming diesel-like and then citrusy at higher temperatures. Once it reached 200°C, lead minium, an orange-colored powder, was added to enhance bonding with the amber, turning the mixture a vivid orange. The melting of the amber, the third stage, was conducted using a scientific heating mantle and a round-bottom flask, allowing for observation of the transformation. The amber, after grinding, became dark and sticky during heating, reaching 300°C. This stage required constant stirring to prevent graininess and ensure uniform melting. The strong odor necessitated the use of masks. The entire amber melting process took 64 minutes. Finally, the melted amber was carefully added to the heated linseed oil with gentle stirring. This combination produced a significant amount of smoke, which eventually dissipated. The resulting varnish appeared dark and contained dark impurities, which were theorized to be either from the ground amber or burning during the melting process. These impurities, it was noted, could be filtered out, potentially with white bread to maintain historical accuracy. The color of the final varnish on wood was reserved for a future discussion. The experience underscored the importance of 'techne' – the reliance on tacit knowledge and sensory judgment – in interpreting and executing historical recipes, given the often imprecise instructions. The students and faculty involved expressed gratitude to the various experts who provided guidance and support during the experimental lab class. #earlyModernHistory #historyOfTechnology #makingAndKnowing #research #RoyalCollegeOfArt #techne #VARCAHistoryOfDesignMA #varnish #historicalCraftsmanship

This article explores the intricate world of collecting historic textiles, emphasizing the unique value derived from their extraordinary technique, artistry, and cultural significance. Titi Halle, owner and director of Cora Ginsburg, a prominent textile gallery, provides expert insights into identifying, valuing, and understanding these delicate artifacts. The limited supply of high-quality historic textiles, owing to their inherent fragility and historical use in clothing and furnishings, contributes to their allure among a dedicated community of collectors. The history of textile collecting began to gain public traction in the 19th century, with major museums establishing comprehensive textile and clothing collections by the early 20th century. Institutions like the Victoria and Albert Museum, Musée des Tissus, and the Textile Museum at George Washington University were instrumental in this movement. Private collectors also became active, with lace, for instance, being a popular item, even leading to the formation of clubs like the Needle and Bobbin Club. While European textiles once saw significant private interest, today, there's a greater focus on Asian textiles, with many collectors specializing in specific regions like Ottoman, Indonesian, or Indian, or particular types such as silks, cottons, ikats, or painted chintz. Religious textiles and attire also form a distinct collecting category. The article highlights the textile collection of the late Ann Getty, an interior designer and philanthropist, which is notable for its immense volume and diversity. Comprising over 200 pieces from the 17th to 20th centuries, her collection spans global origins, including Asian, African, European, and American textiles, as well as religious garments. This collection, to be offered at Christie's New York, demonstrates the broad scope and richness possible in textile collecting. Halle underscores the historical value of textiles, noting that in past centuries, they were far more costly and scarce than modern materials due to labor-intensive hand production. Textiles, especially royal or noble garb, could even surpass the value of precious metals. This inherent value led to textiles being continually reused and repurposed. For example, an 18th-century silk dress might be transformed into a church chasuble, then a coverlet, and eventually cushions, showcasing their longevity and adaptability. This cycle of reuse explains why well-preserved, pristine textiles are so rare today. The fragility and condition of textiles are critical factors in their current market value. Many textiles are permanently removed from circulation once they enter museum collections or are repurposed for functional items. Maintaining these artifacts requires specialized conservation efforts. Exceptional condition significantly enhances a textile's rarity and value, as survival through centuries of daily use, travel, and conflicts is considered miraculous. Irreversible damage from stains or light exposure further emphasizes the importance of condition. Identifying textiles involves meticulous examination of their structural characteristics. Clues such as weave structure, thread type (S or Z twist, single or double ply), and width can indicate origin and period. For instance, specific fabric widths often correspond to the loom technologies of certain countries in different eras. Microscopic analysis aids in identifying these details. Furthermore, historical palettes and dye types, distinguishing between natural and synthetic dyes, provide additional insights into a textile's provenance. While purists advocate for conservation to preserve textiles, their decorative potential is undeniable. Ann Getty's approach exemplified this, using diverse historic and international textiles to create opulent and unique interiors. She fearlessly repurposed items, even cutting a chasuble for a chair, and commissioned custom fabrics when necessary, demonstrating an original and bold vision for integrating textiles into design. This integration of textiles offers significant visual impact, making them a crucial element in interior decoration. #TextileCollecting #HistoricTextiles #DecorativeArts #TextileConservation #AnnGettyCollection #CoraGinsburg #TextileIdentification #WeaveStructure #InteriorDesign

This article explores the significance of an eighth-century Umayyad wool tapestry fragment from the Metropolitan Museum of Art's collection, reconsidering common impressions of Islamic art. While Islamic art is often perceived through its precise and repetitive ornamental motifs, this tapestry fragment offers a counter-example, revealing a more playful spirit in early Islamic textiles. Dated to the mid-eighth century and attributed to the Umayyad Caliphate, the fragment features stylized rosettes and floral motifs that resemble bright flower sprays on a grassy background. The fragmentary nature of the tapestry, lacking selvedges, suggests it was part of a larger furnishing fabric. Reconstructing Umayyad homes from the seventh or eighth century is challenging due to the scarcity of extant textiles. However, wall paintings and mosaics from Umayyad palaces provide insights into their interior decorations. For instance, a fresco at Qusayr 'Amra depicts a heavily draped space with veiled doorways and colonnades, and covered seating, contrasting with the current austere state of these palaces. Similarly, floor mosaics at Khirbat al-Mafjar, edged with tassels, suggest the presence of carpets of similar size, reinforcing the idea of textile use in these grand spaces. The author posits that the floral tapestry fragment might have served as a wool seat or wall furnishing. A key aspect distinguishing this fragment is the irregular design and varied color application of its motifs, a departure from the strict repetitive or symmetrical layouts prevalent in decorative art from later Islamic dynasties. The central part of the textile, a band with a green background, features two rows of medallion-style rosettes. Each of the seven rosettes is distinct in color or form, with individually rendered petals. The flower bouquets on the red band, forming the edge, also exhibit this intentional variation, ensuring no two neighboring motifs are identical. This deliberate variety in repetition is paralleled in the facade of Qasr al-Mshatta, where carved rosettes within hexagons and hexafoils display distinct content while maintaining a general form. The interspaces are densely covered with grape leaves, alongside depictions of lions, griffins, and peacocks. This suggests that such decorative programs were designed to evoke a garden, mimicking the fabled Paradise garden, through a diverse array of flora and fauna. Therefore, the rosette tapestry fragment, whether used as a hanging or a cover, would have functioned as a segment of a portable garden. Spreading the tapestry would have transformed the environment, releasing a miniature Paradise and adding a sense of glamour, as if the owner were seated on a floral lawn or surrounded by fantastic creatures. This interpretation highlights the innovative and artistic intent behind early Islamic textile design, showcasing a sophisticated approach to decoration that went beyond mere repetition to create dynamic and symbolic spaces. #IslamicArt #UmayyadTextiles #TextileHistory #DecorativeArts #MetropolitanMuseum #ArtInterpretation #GardenMotifs #HomeDecor