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.
'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.
This book presents, above all, a study of the establishment and development of the Soviet organization and system of fashion industry and design as it gradually evolved in the years after the Second World War in the Soviet Union, which was, in the understanding of its leaders, reaching the mature or last stage of socialism when the country was firmly set on the straight trajectory to its final goal, Communism. What was typical of this complex and extensive system of fashion was that it was always loyally subservient to the principles of the planned socialist economy. This did not by any means indicate that everything the designers and other fashion professionals did was dictated entirely from above by the central planning agencies. Neither did it mean that their professional judgment would have been only secondary to ideological and political standards set by the Communist Party and the government of the Soviet Union. On the contrary, as our study shows, the Soviet fashion professionals had a lot of autonomy. They were eager and willing to exercise their own judgment in matters of taste and to set the agenda of beauty and style for Soviet citizens. The present book is the first comprehensive and systematic history of the development of fashion and fashion institutions in the Soviet Union after the Second World War. Our study makes use of rich empirical and historical material that has been made available for the first time for scientific analysis and discussion. The main sources for our study came from the state, party and departmental archives of the former Soviet Union. We also make extensive use of oral history and the writings published in Soviet popular and professional press.
Groundbreaking new insight into a rich spectrum of early Soviet art and its spaces of display Published on the centenary of the Russian Revolution, this landmark book gathers information from the forefront of current research in early Soviet art, providing a new understanding of where art was presented, who saw it, and how the images incorporated and conveyed Soviet values. More than 350 works are grouped into areas of critical importance for the production, reception, and circulation of early Soviet art: battlegrounds, schools, the press, theaters, homes and storefronts, factories, festivals, and exhibitions. Paintings by El Lissitzky and Liubov Popova are joined by sculptures, costumes and textiles, decorative arts, architectural models, books, magazines, films, and more. Also included are rare and important artifacts, among them a selection of illustrated children's notes by Joseph Stalin's daughter, Svetlana Allilueva, as well as reproductions of key exhibition spaces such as the legendary Obmokhu (Constructivist) exhibition in 1921; Aleksandr Rodchenko's 'Workers' Club in 1925; and a Radio-Orator kiosk for live, projected, and printed propaganda designed by Gustav Klutsis in 1922. Bountifully illustrated, this book offers an unprecedented, cross-disciplinary analysis of two momentous decades of Soviet visual culture.
The award-winning textile artist presents her modern approach to 150 fabric manipulation techniques in this fully illustrated sewing guide. In Fabric Manipulation, Ruth Singer presents the most in-depth and comprehensive guide to sculptural and embellishing effects since Collette Wolff’s The Art of Manipulating Fabric. Divided into three sections—Pleat and Fold, Stitch and Gather, Apply and Layer—Fabric Manipulation teaches sewists of all skill levels 150 creative sewing techniques with clear instruction, photos, and hundreds of full color diagrams. Ruth explains her innovative variations on traditional fabric manipulation techniques such as pleating, folding, gathering, smocking, quilting, trapunto and applique. She also offers inspirational project ideas for accessories and home décor that demonstrate practical uses of fabric manipulation.
"A refreshing antidote to the contrived nature of much contemporary interior design, the textiles and decoration of Nathalie Farman-Farma have gained a devoted following among celebrity and socialite clients for their folkloric charm and romantic exuberance. Drawing on the enchantment of fairytales and a history of material culture spanning Persia, Central Asia and Russia, Farman-Farma employs traditional print-making techniques to create exquisitely detailed fabrics, which she uses to conjure interiors infused with warmth and natural charisma. Farman-Farma's townhouse and studio in London and her family homes in Connecticut and Lake Tahoe feature in this captivating volume, forming the backdrop for her Décors Barbares range of fabrics, as well as her vast collection of antique textiles, costumes and jewellery. Vogue has called Farman-Farma "the textile designer you need to know." Her clients include Lauren Santo Domingo, Tory Burch, and influential interior designer David Netto, who writes the foreword to this book"--