The evolution of The Textile Company and its family-led legacy

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 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

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

Josniel Fiallo, President of Rex Fabrics, discusses how his company distinguishes itself in the fabric and textile industry. Unlike many fabric stores, Rex Fabrics provides an extensive range of services directly related to the fabrics they sell. The company operates an in-house atelier with over 25 years of experience, offering haute couture services, also known as "servicio de alta costura" in Miami. This atelier specializes in custom-made dresses, ranging from jumpsuits to elaborate ball gowns, and particularly focuses on unique bridal gowns. Fiallo emphasizes empowering women by providing custom options that allow brides to feel and look their best, rather than conforming to standard designs. The availability of two in-house tailors further sets Rex Fabrics apart, ensuring personalized service for clients. Rex Fabrics also caters to men's fashion with bespoke tailoring services for suits, sports jackets, dress shirts, and guayaberas, which are popular in South Florida's tropical climate. The company handles diverse client requests, from wedding tuxedos to boardroom pinstripes, while upholding the highest standards of bespoke tradition. Beyond apparel, Rex Fabrics extends its services to home décor, offering custom upholstery for both indoor and outdoor furniture. This includes decorative services such as custom-made curtains, drapes, and furniture cushions, as well as reupholstery. As a Sunbrella® dealer, they provide hundreds of Sunbrella® fabric options for updating outdoor spaces. Fiallo shares his 22 years of experience in the fabrics and textile industry, highlighting his lifelong passion for fashion. He developed his skills at Rex Fabrics, which was already recognized as a premier fabric store in Miami. His journey began at the company's first location in Coral Gables, where he was captivated by the wide array of luxurious fabrics, including Brocades, Embroidered Tulles, Printed Silks, Embroidered Lace, Printed Chiffon, and Mikado Zibeline. He notes that exceptional customer service has always been a cornerstone of Rex Fabrics, a quality he believes is often lacking in contemporary retail environments. Fiallo acquired the store and leveraged his existing fashion knowledge to ensure continued success, contrasting his approach with competitors who might struggle due to a lack of focus on exclusive products or inadequate customer service. Regarding brand loyalty, Fiallo stresses the importance of communication and valuing customers as the company's most significant assets. He advocates for consistent engagement with clients to keep them informed and foster a sense of appreciation, which, in turn, promotes loyalty. Staying connected can also encourage customers to interact on social media, share content, and generate new referrals through word-of-mouth marketing, which he finds highly effective. He advises fabric stores in Miami to prioritize client loyalty by developing and maintaining relationships through personalized, focused communication. An example provided is implementing a communication plan upon a customer's purchase of a custom dress, bespoke suit, exclusive fabric, or upholstered item. This strategy not only gathers data but also builds a strong, lasting relationship, making clients feel valued and appreciated. Fiallo also provides insights into building social media presence, emphasizing that the objective is to cultivate an active online community rather than merely accumulating followers. The key has been to post original content, showcasing new products, vendor displays, custom-made dress results, and fashion-related information. This strategy has proven effective for Rex Fabrics, a company with over 30 years of presence in Miami, enabling them to expand their market and continuously acquire more inventory to meet customer demand for exclusive fabrics. #FabricStore #HauteCouture #BespokeTailoring #CustomUpholstery #HomeDecor #CustomerService #BrandLoyalty #SocialMediaStrategy #TextileIndustry

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 introduces Bengt Thornefors, the creative director of Sahco, a nearly 200-year-old textile brand, and his innovative approach to integrating fashion and interior design. Thornefors, known for his work in the fashion industry with brands like Acne Studios and Saint Laurent, was appointed to his current role in 2022. His background includes co-founding the bedware brand Magniberg, which, like Sahco, is now under the ownership of Kvadrat. This experience has equipped him with extensive expertise in fashion, which he now applies to the realm of textiles. Thornefors's appointment by Kvadrat's CEO, Anders Byriel, reflects a desire to inject fresh perspectives into Sahco, moving beyond traditional textile manufacturing to embrace broader cultural and artistic influences. Thornefors views interiors as having a special appeal, and his ability to navigate both fashion and interior design was a key factor in his selection. He aims to explore the interplay between historical textile traditions and contemporary design, creating collections that embody the essence of a true textile maison. For Sahco's inaugural press presentation at Kvadrat's New York City headquarters, Thornefors adopted an unconventional approach. He transformed the space into a white-box gallery, showcasing fabrics tailored into garment bags and hung on rolling racks, reminiscent of a fashion show. These textile displays were artfully combined with fine art photographs and furnishings from the esteemed Swedish institution Svenskt Tenn, demonstrating a fusion of art, fashion, and home decor. This presentation strategy was a deliberate effort to blur the boundaries between different creative disciplines, emphasizing the emotional and artistic value of textiles rather than just their functional aspects. The reception to Thornefors's innovative presentation was highly positive, even from discerning figures like Jonathan Olivares, the architect of the presentation space. His new collections for Sahco are characterized by a blend of heritage sensibilities, retaining Sahco's traditional decorative florals, with a contemporary Scandinavian aesthetic. Thornefors highlights examples such as lime-green embroidery on a jet-black background, which illustrates his modern interpretation of classic motifs. This design philosophy underscores his belief that Sahco sells more than just fabric; it sells emotions, aiming to evoke feelings and experiences through its products. The article concludes by noting that this story originally appeared in the September 2023 issue of ELLE DECOR, emphasizing its relevance and timeliness within the design world. #TextileDesign #InteriorDesign #FashionInfluence #BengtThornefors #Sahco #Kvadrat #HomeDecor #ScandinavianDesign #CreativeDirection

Childress Furniture and Fabrics, a prominent Dallas-based family business, stands as a comprehensive resource for design needs, specializing in fabrics but also offering bespoke furniture and custom soft furnishings. The company's origin story dates back to 1958 when Barbara and Eugene Childress, en route from Chattanooga to California, settled in Dallas after their car broke down. They initially worked at Olive & Myers Manufacturing, a furniture company, before establishing their own upholstery business on Forest Avenue. Their entrepreneurial spirit and strong work ethic were evident early on, as they swiftly relocated and resumed operations on the same day an electrical fire forced them out of their Canton Street location. The business, initially focused on upholstery, saw significant expansion and evolution under the guidance of the Childress family's six children: Mike, Brian, Sherry, Debbie, Kenny, and Kristi. A pivotal moment occurred in 1989 when Mike, realizing a demand for customers to physically interact with larger fabric samples, proposed opening a dedicated fabric store. This led to the acquisition of a warehouse at 2512 Ferris Street. Despite initial trepidation about the financial commitment, the new store quickly garnered success, necessitating the expansion into the entire warehouse space and establishing a new entrance on Good Latimer. This expansion also allowed Childress to further develop its custom furniture building services. Recognizing that many clients were remodeling existing furniture, the family ventured into creating new pieces. They innovated by displaying sample furniture frames upholstered in white, enabling customers to visualize their custom designs and fostering trust. Over the years, Childress has navigated both triumphs and hardships, including the passing of Mike in 2017, but has consistently operated as a close-knit unit. Each family member has found their specific role within the company, with Kenny managing the Dallas store, Brian overseeing the workroom, Debbie running the Addison store, and Kristi handling bookkeeping. Barbara Childress, the matriarch, continues to maintain an oversight role. Today, Childress Furniture and Fabrics is known for its extensive selection of velvets, linens, silks, and leathers, as well as its custom capabilities in draperies, pillows, bedding, sofas, chairs, and headboards. The business emphasizes customer relationships, often transforming clients into long-term friends. Visitors to the Dallas store on Good Latimer might encounter Kenny's wife, Nancy, or long-time employee Kottun Cottongame, reinforcing the family-oriented atmosphere. The presence of family pets like Turbo and Kaizer further contributes to the welcoming and unique environment that has made Childress Furniture and Fabrics a beloved institution in the Dallas design community for decades. #ChildressFurniture #FamilyBusiness #DallasDesign #CustomUpholstery #FabricStore #InteriorDesignResources #FurnitureManufacturing #EntrepreneurialJourney #HomeDecor

The textile industry is increasingly moving towards sustainable practices, specifically closed-loop recycling processes, which are transforming textile waste into new products. This shift, driven by technological advancements and rising raw material costs, is making environmental responsibility a profitable endeavor. Companies like Glen Raven Custom Fabrics LLC, Designtex, Unifi Inc., Victor Group Inc., Martex Fiber, and Leigh Fibers Inc. are at the forefront of this movement, converting textile waste into high-quality yarns and fabrics for various applications, including upholstery and automotive interiors. John Gant of Glen Raven Custom Fabrics notes a significant change from 15 years ago when recycled fabric prototypes were largely ignored, to today, where such features are crucial, particularly in the upholstery market. Deidre Hoguet, Director of Sustainability and Material Exploration for Designtex, emphasizes that rising commodity raw material costs around 2000 pressured industries to find more sustainable and profitable solutions. Designtex, a subsidiary of Steelcase, started using yarn from its own accumulated fabric waste in 2012. This led to the collaborative Loop to Loop process in 2013 with Unifi Inc., Victor Group Inc., and Steelcase, which produced their first closed-loop product. Since then, Designtex has launched a second fabric, Hyphen, and Steelcase’s Surface Materials team introduced Redeem and Retrieve, all utilizing waste yarn from this recycling process. Four new styles in the Loop to Loop system were showcased at NeoCon in June. Unifi, known for its Repreve® Textile Takeback Yarns, is expanding its waste collection and incorporating more recycled content into its products. Jay Hertwig, VP of Global Brand Sales, Marketing and Product Development, highlights the growing consumer demand for sustainable products, which perform comparably to those made from virgin materials. To meet this demand, Unifi broke ground in July on a $10 million expansion of its Repreve Recycling Center, which is expected to more than double its size by spring 2016. Victor Group’s Martin Bourque recalls earlier efforts to close the loop on polyester manufacturing that were limited by technology and market focus on cost over green products, but now sees a renewed interest in sustainable solutions. Glen Raven’s Anderson, S.C., plant has recycled textile waste for decades, partnering with South Carolina Vocational Rehabilitation to sort scraps for conversion into fiber by Leigh Fibers Inc. These fibers, once used for industrial filtration, are now processed into high-quality yarn for new fabrics. Martex Fiber has recycled over a billion pounds of textile waste in the last decade, operating a fully closed-loop process. The company collects waste globally, reprocessing it into fibers for automotive, consumer, industrial, and ecological yarn spinning. Martex Fiber's Jimtex Yarns division specializes in producing yarns from textile waste blended with acrylic or polyester for strength and aesthetics, finding a rapidly growing market in furniture upholstery. Paul Lehner, Chief Technology Officer at Leigh Fibers, emphasizes that while sustainability is a recent trend, his company has been recycling fiber for nearly a century. They have refocused efforts on end uses where recycled content is valued, noting that some market segments are willing to pay a premium for sustainable products, and corporations have mandates for purchasing such items. Leigh Fibers acquired ICE Recycling in 2014 to secure raw material, processing post-industrial waste and materials damaged by various incidents. The largest markets for their reprocessed fiber are automotive and furniture. Companies like Designtex actively seek suppliers with sustainable products and operating principles, promoting industry standards for sustainable furnishings. Susan Lyons, president of Designtex, advocates for “co-opetition” in sustainability, preferring to compete on design and aesthetics rather than environmental efforts, encouraging the entire industry to become more sustainable. Companies are forming internal sustainability teams, with leadership buy-in being crucial, and engaging in external partnerships to share expertise and achieve collective goals. Unifi’s #TurnItGreen initiative aims to raise consumer awareness about recycling and products made from recycled materials. Glen Raven’s Recycle My Sunbrella program involves customers and homeowners in the recycling process, contributing to decorative Sunbrella fabrics. Martex Fiber offers waste-management training to its clients, helping them maximize the value of their waste streams. These initiatives highlight that sustainability is an ongoing, evolving process requiring continuous innovation and collaboration across the supply chain. #TextileRecycling #ClosedLoopManufacturing #SustainableTextiles #EcoFriendlyProducts #TextileWasteManagement #UpholsteryFabrics #CircularEconomy #GreenInitiatives #CorporateSustainability

The article explores the potential of Ugandan bark cloth, the world's oldest known textile, as a sustainable and ethical alternative to leather in high fashion. Nigerian-German designer Bobby Kolade is highlighted for his pioneering use of bark cloth in his collection during Berlin's fashion week. Kolade, a vegetarian, was inspired to incorporate this ancient material into modern clothing after rediscovering it in Berlin, despite its association with burial rituals in Uganda. His collaboration with Mary Barongo's company, Bark Cloth, is crucial to this endeavor, as Barongo sources the material from hundreds of Ugandan farmers. The process of creating bark cloth is detailed, beginning with the annual stripping of fig tree bark by farmers, who then protect the trees with banana leaves. The harvested bark is boiled to soften it, then meticulously thinned by hand using guava wood hammers, a process that expands its size tenfold. Following this, the bark is sun-dried, during which it develops its characteristic rich maple color with subtle yellow flecks. This natural drying and curing process ensures that each piece of bark cloth possesses a unique color and pattern, making every item crafted from it distinctive. Barongo's company also modifies the bark cloth for various applications beyond clothing, including home design elements, furniture, and lighting fixtures, showcasing its versatility. Kolade emphasizes the material's potential as a vegan alternative to leather, appealing to vegetarians, vegans, and consumers concerned about the ethical implications of the luxury leather industry. He acknowledges the challenges of working with bark cloth, particularly its suitability for garments like coats, and notes that his current bark jacket, a showpiece, is not yet weatherproof. Despite the current limitations, Kolade views the difficulty as an interesting challenge and aims to introduce the material in its raw form to the fashion scene. The article also addresses the cost of bark cloth, which is several times more expensive than leather. However, Kolade posits that consumers are willing to pay a premium for unique and ethically sourced luxury items, aligning with the material's inimitable quality and the concept that true luxury lies in one-of-a-kind products. While wide distribution of bark cloth garments may not be immediate, Kolade's innovative use of this sustainable fabric is expected to inspire other designers. Increased adoption could lead to a rise in demand, potentially creating new livelihoods for thousands of fig bark farmers in Uganda. The article ultimately positions bark cloth as a material with significant promise for both ecological sustainability and the future of luxury fashion. #BarkCloth #SustainableFashion #VeganLeather #EthicalFashion #UgandanCraftsmanship #TextileInnovation #BobbyKolade #HighFashion #MaterialScience

Axos Designs, a New York-based millwork shop, has established itself as a leading provider of custom architectural woodwork, cabinetry, and interior detailing for high-end residential and commercial projects across New York City. The company, originally a small family business, has been transformed by Chris Yerolemou, a former investment banker and the son of the founder, into a thriving operation recognized for its commitment to quality and ability to meet the demands of a competitive market. Axos Designs is particularly known for manufacturing 100% of its products in the United States, a core value emphasized by Yerolemou. The firm's portfolio includes collaborations with luxury brands and establishments such as Aime Leon Dore, Kith Ivy, Giorgio Armani, Casa Cipriani, Avra Hudson Yards, and Marquee New York. These projects span a diverse range, from custom shelves and wall paneling for retail spaces to intricate interiors for upscale restaurants and residential kitchens, like an oak veneer wall for a Southampton, NY kitchen. This versatility highlights Axos Designs' capability to cater to various high-end design requirements. The company's success is attributed to its unique blend of traditional craftsmanship and modern technological integration. While skilled artisans apply finishing touches, Axos Designs also incorporates state-of-the-art machinery, such as Altendorf table saws, into its production process. This dual approach ensures both precision and the personalized care characteristic of bespoke woodwork. Yerolemou, leveraging his background in tech and finance, has made strategic investments in advanced equipment and project management systems, enabling the company to deliver projects on time and to exact specifications. Axos Designs has experienced significant growth under Yerolemou's leadership. The company is set to triple its current operational space, expanding to 40,000 square feet across two shops in Queens. This expansion includes integrating new machinery, increasing its workforce, and adopting the latest AI technology. The number of employees has grown from approximately 10 when Yerolemou took over to nearly 60, reflecting the increased demand for their services. Despite this rapid expansion, Yerolemou asserts that the company remains true to its foundational values of integrity, consistency, and excellence, ensuring that every project reflects the high standards set by his father. The firm's reputation for reliability and superior quality has garnered the trust of prominent design professionals throughout New York City. Axos Designs is currently in such high demand that it is acquiring an additional 30,000-square-foot factory to further accommodate its growth. The company's ongoing success demonstrates that in a fast-paced urban environment like New York City, there is still a significant appreciation for meticulous craftsmanship and a dedication to quality. #Millwork #CustomWoodwork #ArchitecturalMillwork #Cabinetry #InteriorDesign #NewYorkCity #LuxuryDesign #Craftsmanship #Manufacturing

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

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

The article explores alternative textile stores in the Twin Cities following the bankruptcy and store closures of JOANN Fabric and Craft Store, a popular chain previously relied upon for craft supplies. The author recounts personal experiences with JOANN for various DIY projects, highlighting its role as a convenient and affordable option, especially for beginners. The bankruptcy of JOANN in 2024, attributed to private equity, has prompted a search for local alternatives for sewers and crafters. The article profiles four Twin Cities textile stores, detailing their specialties, origin stories, the impact of JOANN's closure on their business, and their perspectives on upcoming or existing tariffs in the textile industry. Each store offers a unique shopping experience, catering to different sewing needs, from general crafting to fashion apparel and home decor. The article emphasizes the benefits of shopping locally and provides practical advice for both amateur and experienced sewers. SR Harris Fabric, with locations in Brooklyn Park and Burnsville, is presented as an accessible option due to its inventory of deadstock and promotional textiles. Owner Scott Harris describes his store as a discount fabric store, offering a wide variety of materials for home decor, fashion, quilting, and crafting. The store's unique setup allows customers to cut their own fabric for smaller purchases, contributing to a distinct shopping experience. Harris notes a significant increase in business following JOANN's closures and anticipates some tariff impact on imported items, though he remains optimistic about fabric prices due to current stock levels. Digs, located in Minneapolis, is highlighted for its curated selection of unique textile options and vintage remnants. Owner Katie Koster expanded the store's inventory beyond upholstery to include fabric for apparel, home decor, quilting, and general crafting supplies. Digs also features handmade items from local makers and encourages repurposing through its vintage notions. Koster advises beginners to start with simple projects like aprons or tote bags and has observed a renewed interest in smaller, local fabric stores since JOANN's decline. She expresses concern about potential price increases and supply chain disruptions due to tariffs. The Sewing Lounge in St. Paul specializes in natural fiber fabrics for apparel making, offering a welcoming environment for sewers. Co-founder Maggy Schneider transitioned the business from an instructional facility to a fabric and notions store, still providing occasional classes. She emphasizes the importance of quality fabric and advises beginners to start with cotton due to its ease of use. Schneider reported an initial increase in traffic after JOANN's bankruptcy but notes a subsequent tapering off, which she attributes to economic uncertainty and tariffs, fearing potential empty shelves if tariffs persist. Lakes Makerie in Minneapolis focuses on high-quality imported fabrics for garment making from countries like Germany, Italy, France, England, and Japan. Owner Sarah Vernon, a former interventional cardiologist, opened the store to foster a sewing community. She highlights the expertise of her staff in guiding customers to select appropriate fabrics for their projects, emphasizing that sewing is about the process and creating unique garments rather than just saving money. Vernon states that Lakes Makerie was better prepared for tariff impacts due to prior experience with international sourcing during COVID-19, though she acknowledges the current chaotic and uncertain tariff landscape. #TextileStores #LocalBusiness #CraftSupplies #Sewing #FabricStores #DIYProjects #TariffImpact #MinneapolisStPaul

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

Ticking, a robust striped fabric, possesses an exceptional blend of practicality and versatility, making it a favored choice among interior designers. Historically, this fabric was used for covering mattresses, a utility that gave rise to its name, derived from the Latin 'tica' and Greek 'theka,' both meaning 'covering.' Before the advent of modern mattress technologies, ticking served as a durable enclosure for fillings such as straw, twigs, wool, horsehair, and feathers. The original iteration of ticking, popularized in Nimes, France, typically featured repeating blue or red central stripes flanked by thinner stripes on a pale background, made from pure cotton or a cotton-linen blend. The quality of vintage ticking was often assessed by holding it up to light; the best was so densely woven that it allowed no light to pass through, ensuring no uncomfortable protrusions from the mattress filling. While vintage ticking can still be found, acquiring it in good condition and sufficient quantity can be challenging, as many pieces bear stains from their original use. Its transition from a utilitarian material to a mainstream decorative fabric is largely attributed to the late American design legend Sister Parish. She famously incorporated ticking into her own home, using it for curtains, thereby elevating its status beyond mere utility. Parish, renowned for her work as Jacqueline Kennedy’s interior designer, demonstrated ticking's potential for sophisticated applications, a stark contrast to its humble origins. Today, readily available new ticking is typically woven with dyed yarns rather than printed, offering a richer depth of color in its stripes. Contemporary fabric houses have reinterpreted antique ticking patterns and palettes to suit modern tastes, preserving its timeless appeal while introducing fresh variations. Prominent examples include Ian Mankin, whose collection features both traditional ticking and other striped fabrics designed to harmonize diverse schemes. Chelsea Textiles recently launched the 'Marcel' stripe, a contemporary take on 18th-century French ticking, available in sophisticated colorways like 'Celadon and Mahogany' and 'Faded Yellow and Seamist.' Jenny Simpson, Design Director at Chelsea Textiles, notes its compatibility with floral embroideries and chintzes, planning to use it for upholstery in her Scottish home. Colefax and Fowler also offers a range of ticking varieties, including Tyrell, Sackville, Waltham Stripe, and Bendell Stripe. Designer Susan Deliss provides her own versions of ticking, featuring decorative stripes in red and blue or apricot and olive. She describes her ticking as a refreshed interpretation of a 19th-century French fragment, serving as an effective contrast to strong colors and patterns. Deliss also highlights its practical benefits, noting its suitability for valances or as a curtain lining, providing a blackout effect due to its dense weave. The late Robert Kime was another advocate, utilizing his 'Tynemouth Ticking' linen in grey to create elegant interiors, such as in his London flat. For those on a budget, platforms like Etsy offer affordable options, and designer Rita Konig sources her ticking from the Cloth Shop on Portobello Road, using it for curtains edged with pom-pom trim in her daughter’s bedroom. Ticking's enduring appeal also extends into the art world, notably influencing artist Louise Bourgeois, who integrated textiles, including ticking, into her work, reflecting its visual appeal. The fabric's simple, regular pattern contributes to its consistently pleasing aesthetic, allowing it to transcend its original functional purpose and remain a cherished element in interior design. This enduring aesthetic quality, as noted by design enthusiasts, underscores its importance in creating visually appealing spaces. #TickingFabric #InteriorDesign #HomeDecor #FabricPatterns #TextileHistory #StripedFabric #Upholstery #Curtains #DesignVersatility