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William Morris (1834-1898), a founder of the British Arts and Crafts movement, sought to restore the prestige and methods of hand-made crafts, including textiles, in opposition to the 19th century tendency toward factory-produced textiles. With this goal in mind, he created his own workshop and designed dozens of patterns for hand-produced ...
The imperial workshops in the towns of Lahore, Agra, Fatehpur and Ahmedabad turn out many masterpieces of workmanship in fabrics, and the figures and patterns, knots and variety of fashions which now prevail astonish even the most experienced travellers. Taste for fine material has since become general, and the drapery of embroidered fabrics ...
The parts of a thobe that would often be embroidered include the chest panel (qabba) which has patterns and colors that vary from region to region and identify the wearer easily. Other commonly embroidered areas of the thobe include the rada "shoulder piece", side skirt panels ( benayiq ), the front of the skirt ( hiijer ), and the lower back ...
Multi-colored crewel wool threads on a panel of linen warp and cotton weft, 18th century English. The fabrics and yarns used in traditional embroidery vary from place to place. Wool, linen, and silk have been in use for thousands of years for both fabric and yarn.
Kuba women traditionally wore overskirts during burial displays, but the overskirt was later adopted as part of many ceremonial ensembles worn during ritual dances, celebrations, and masked performances. The wraparound skirt was secured with a belt and worn over a typically monochrome red or white embroidered skirt.
Poltava and Reshetylivka products are especially famed for their “white-on-white” and openwork embroidery. [14] The red, red-blue (or red-black) color scheme plays an important role in Central and Eastern Ukrainian embroidery, as it did throughout almost the whole of Ukraine. [4]
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