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The popular Sylvia's Book of Macramé Lace (1882) showed how "to work rich trimmings for black and coloured costumes, both for home wear, garden parties, seaside ramblings, and balls—fairylike adornments for household and underlinens ...". [4] It was a specialty in Genoa, and was popular in the 19th century.
Scoubidou (Craftlace, scoobies, lanyard, gimp, or boondoggle) is material used in knotting craft. It originated in France, where it became a fad in the late 1950s and has remained popular. It is named after the 1958 song of the same name as sung by the French singer Sacha Distel .
These 50 easy Halloween crafts for kids will get you into the spooky spirit. Skip to main content. 24/7 Help. For premium support please call: 800-290-4726 more ways to reach us ...
The textile industry grew out of art and craft and was kept going by guilds. In the 18th and 19th centuries, during the Industrial Revolution , it became increasingly mechanized. In 1765, when a machine for spinning wool or cotton called the spinning jenny was invented in the United Kingdom, textile production became the first economic activity ...
Feather headdress Moctezuma II; Museo Nacional de Antropología e Historia, México. Mexican featherwork, also called "plumería", was an important artistic and decorative technique in the pre-Hispanic and colonial periods in what is now Mexico.
Detail of design for Bluebell or Columbine printed art fabric, 1876, by William Morris. Example of yarn bombing in Montreal, 2009, by fiber artist Olek. Fiber art (fibre art in British spelling) refers to fine art whose material consists of natural or synthetic fiber and other components, such as fabric or yarn.
One example of a modern witch's ladder is a string of 40 beads or a cord with 40 knots. Sometimes feathers, bones, and other trinkets are braided into the string as symbols for a desired spell effect. An earlier version of a witch's ladder consisted of a rope or cord of three, nine, or thirteen knots.
Large numbers of Navajo continue to weave commercially. Contemporary weavers are more likely to learn the craft from a Dine College course, as opposed to family. [16] Contemporary Navajo textiles have suffered commercially from two sets of pressures: extensive investment in pre-1950 examples and price competition from foreign imitations. [17]
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