Centuries old, the ikat technique is a complex sequence of tie-dying silk threads to create elaborate patterns in striking colors before weaving. This invaluable introduction to the magnificent ikats of Central Asia sets the creation of these fabrics into the context of a long history of textile production that once centered around the trade of the famous Silk Road. Illustrated throughout with glorious examples, Central Asian Ikats examines the social significance and various functions of these fabrics in Central Asian culture, as well as describing the fascinating and complex techniques involved in making them. The book accompanies an exhibition opening in November 2007.
The traditional textiles of Central Asia are unknown treasures. Straddling the legendary Silk Road, this vast region stretches from Russia in the west to China in the east. Whether nomadic or sedentary, its peoples created textiles for every aspect of their way of life, from ceremonial objects marking rites of passage, to everyday garments, to practical items for the home. There were suzanis for the marriage bed; prayer mats; patchwork quilts; bridal ensembles; bags for tea, scissors, and mirrors; lovingly embroidered hats and bibs; and robes of every color and pattern. Author Susan Meller has spent years assembling the 590 textiles illustrated in this book. She documents their history, use, and meaning through archival photographs and fascinating travelers’ narratives spanning many centuries. Her book will be a revelation to designers, collectors, students of Central Asia, and travelers to the region. Silk and Cotton is destined to become a classic.
The ikat silks of nineteenth-century Central Asia are unrivaled in their gloriously inventive designs, resplendent colors and technical mastery. This book is based on a combination of twenty years of research by the authors, and their study of the outstanding collection of Central Asian ikats formed by Dr Guido Goldman. Ikat is the Indonesian term for this ancient technique known in many parts of Asia. Through wide usage, the word ikat has become generic for all weavings of this type. Central Asian ikat is a warp-faced fabric, in which all the colors are applied to the silk warp yarns in a multi-stage, tie-dye resist method before the yarns are woven. The early years of the nineteenth century saw a remarkable artistic revival of ikat production in the Central Asian cities of Bukhara, Samarkand and the towns of the Ferghana Valley. Ikat fabric was soon in great demand, both among local ethnic groups and in the export market, being used primarily for opulent costume and decorative hangings for the local court and affluent households. By the 1880os the high quality of ikat weaving was in decline. The Guido Goldman collection represents the foremost comprehensive collection of early Central Asian ikat hangings and robes. The entire collection has been specially photographed for this book. The wide-ranging text incorporates original research in Russia and Uzbekistan, and places ikat production in Central Asia in its historical and social context. The complex history of the region is described, in particular the social and economic structure of the ikat-producing centers, offering fascinating insights into the textile guilds and workshops, and defining the important ritual function of textiles in society the crucial role of the Jewish urban communities as both highly skilled dyers and as traders in textiles is examined, as is the important part played by the Uzbek and Tadjik ethnic groups. A chapter on technique describes all the different stages of production, and is followed by an analysis of the evolution and chronology of ikat design within a continuous Central Asian tradition of highly abstract motifs, showing the rich cross-fertilization of influences between ikat design, embroidery, carpets, jewelry and ceramics. The illustrations include 372 color plates and details of the entire Guido Goldman collection. Many previously unpublished documentary photographs from the nineteenth century are illustrated, including images of the manufacture of ikat. The appendix contains detailed information on dyes, an extensive analysis of dye samples taken from the collection, a glossary, bibliography and full index. This unique publication is an incomparable reference work for textile scholars, collectors and designers, and all those interested in this fascinating area of Asian textile production. The book stands as an eloquent testimony to the extraordinary skills of dedicated craftsmen and their magnificent creations.
'Russian Textiles' showcases printed-cotton textiles created and manufactured in Russia and exported to Central Asia from around 1860 to 1960. More than 175 patterns spanning a variety of different styles, from Art Nouveau florals to Soviet-era agitprop, are featured.
The edited volume discusses the role of textile heritage in relation to the dynamics of nation building, cultural identity, politics, economy and the globalization of markets. It was sparked by a research project investigating the role of textiles, textile design and contemporary fashion in the post-Soviet societies of Central Asia and also includes perspectives on similar developments in Algeria and Peru in order to question dichotomous narrations of modernity relations between textile cultures and heritage building, cultural property, and the concept of cultural heritage. Thus, this book intends to stimulate the ongoing debate about textile culture as national heritage or as means of nation branding.
The Dress Detective is the first practical guide to analyzing fashion objects, clearly demonstrating how their close analysis can enhance and enrich interdisciplinary research. This accessible book provides readers with the tools to uncover the hidden stories in garments, setting out a carefully developed research methodology specific to dress, and providing easy-to-use checklists that guide the reader through the process. Beautifully illustrated, the book contains seven case studies of fashionable Western garments – ranging from an 1820s coat to a 2004 Kenzo jacket – that articulate the methodological framework for the process, illustrate the use of the checklists, and show how evidence from the garment itself can be used to corroborate theories of dress or fashion. This book outlines a skillset that has, until now, typically been passed on informally. Written in plain language, it will give any budding fashion historian, curator, or researcher the knowledge and confidence to analyze the material in front of them effectively.
"A tribute to a time when style -- and maybe even life -- felt more straightforward, and however arbitrary, there were definitive answers." -- Sadie Stein, Paris Review As a glance down any street in America quickly reveals, American women have forgotten how to dress. We lack the fashion know-how we need to dress professionally and beautifully. In The Lost Art of Dress, historian and dressmaker Linda Przybyszewski reveals that this wasn't always true. In the first half of the twentieth century, a remarkable group of women -- the so-called Dress Doctors -- taught American women that knowledge, not money, was key to a beautiful wardrobe. They empowered women to design, make, and choose clothing for both the workplace and the home. Armed with the Dress Doctors' simple design principles -- harmony, proportion, balance, rhythm, emphasis -- modern American women from all classes learned to dress for all occasions in ways that made them confident, engaged members of society. A captivating and beautifully illustrated look at the world of the Dress Doctors, The Lost Art of Dress introduces a new audience to their timeless rules of fashion and beauty -- rules which, with a little help, we can certainly learn again.
Unique in its diversity within a small region, the embroidery of the Epirus region of Greece and the islands of the Aegean and Ionian Seas provides an insightful look at the relationships between textiles and culture. The geographical position of the are
