Portal:Clothing

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The Clothing Portal

A garment factory in Bangladesh

Clothing (also known as clothes, garments, dress, apparel, or attire) is any item worn on the body. Typically, clothing is made of fabrics or textiles, but over time it has included garments made from animal skin and other thin sheets of materials and natural products found in the environment, put together. The wearing of clothing is mostly restricted to human beings and is a feature of all human societies. The amount and type of clothing worn depends on gender, body type, social factors, and geographic considerations. Garments cover the body, footwear covers the feet, gloves cover the hands, while hats and headgear cover the head, and underwear covers the private parts.

Clothing has significant social factors as well. Wearing clothes is a variable social norm. It may connote modesty. Being deprived of clothing in front of others may be embarrassing. In many parts of the world, not wearing clothes in public so that genitals, breast, or buttocks are visible could be considered indecent exposure. Pubic area or genital coverage is the most frequently encountered minimum found cross-culturally and regardless of climate, implying social convention as the basis of customs. Clothing also may be used to communicate social status, wealth, group identity, and individualism. (Full article...)

Textile is an umbrella term that includes various fiber-based materials, including fibers, yarns, filaments, threads, different fabric types, etc. At first, the word "textiles" only referred to woven fabrics. However, weaving is not the only manufacturing method, and many other methods were later developed to form textile structures based on their intended use. Knitting and non-woven are other popular types of fabric manufacturing. In the contemporary world, textiles satisfy the material needs for versatile applications, from simple daily clothing to bulletproof jackets, spacesuits, and doctor's gowns. (Full article...)

Textile arts are arts and crafts that use plant, animal, or synthetic fibers to construct practical or decorative objects. (Full article...)

Selected articles - load new batch

  • Image 1 An Aran cardigan in the traditional white báinín colour. The Aran jumper (Irish: Geansaí Árann), also called a fisherman's jumper, is a style of jumper that takes its name from the Aran Islands off the west coast of Ireland. A traditional Aran Jumper usually is off-white in colour, with cable patterns on the body and sleeves. Originally the jumpers were knitted using unscoured wool that retained its natural oils (lanolin) which made the garments water-resistant and meant they remained wearable even when wet. Use of the word jumper (or other options such as "pullover" and "jersey") is largely determined by the regional version of English used. In the case of Ireland, Britain and Australia, "jumper" is the standard word, “jersey” is used in South Africa whereas "sweater" is mainly found in tourist shops and in North America. The word used in Irish is geansaí. (Full article...)
    An Aran cardigan in the traditional white báinín colour.


    The Aran jumper (Irish: Geansaí Árann), also called a fisherman's jumper, is a style of jumper that takes its name from the Aran Islands off the west coast of Ireland. A traditional Aran Jumper usually is off-white in colour, with cable patterns on the body and sleeves. Originally the jumpers were knitted using unscoured wool that retained its natural oils (lanolin) which made the garments water-resistant and meant they remained wearable even when wet.

    Use of the word jumper (or other options such as "pullover" and "jersey") is largely determined by the regional version of English used. In the case of Ireland, Britain and Australia, "jumper" is the standard word, “jersey” is used in South Africa whereas "sweater" is mainly found in tourist shops and in North America. The word used in Irish is geansaí. (Full article...)
  • Image 2 Self-portrait Bronwyn Bancroft (born 1958) is an Aboriginal Australian artist, administrator, book illustrator, and among the first three Australian fashion designers to show their work in Paris. She was born in Tenterfield, New South Wales, and trained in Canberra and Sydney. In 1985, Bancroft established a shop called Designer Aboriginals, selling fabrics made by Aboriginal artists, including herself. She was a founding member of Boomalli Aboriginal Artists Co-operative. Her artwork is held by the National Gallery of Australia, the Art Gallery of New South Wales and the Art Gallery of Western Australia. She illustrated 20 children's books, including Stradbroke Dreamtime by activist Oodgeroo Noonuccal, and books by artist Sally Morgan. Her design commissions include one for the exterior of a Sydney sports centre. (Full article...)

    Self-portrait

    Bronwyn Bancroft (born 1958) is an Aboriginal Australian artist, administrator, book illustrator, and among the first three Australian fashion designers to show their work in Paris. She was born in Tenterfield, New South Wales, and trained in Canberra and Sydney.

    In 1985, Bancroft established a shop called Designer Aboriginals, selling fabrics made by Aboriginal artists, including herself. She was a founding member of Boomalli Aboriginal Artists Co-operative. Her artwork is held by the National Gallery of Australia, the Art Gallery of New South Wales and the Art Gallery of Western Australia. She illustrated 20 children's books, including Stradbroke Dreamtime by activist Oodgeroo Noonuccal, and books by artist Sally Morgan. Her design commissions include one for the exterior of a Sydney sports centre. (Full article...)
  • Image 3 William Morris by Frederick Hollyer, 1887 William Morris (24 March 1834 – 3 October 1896) was an English textile designer, poet, artist, writer, and socialist activist associated with the British Arts and Crafts movement. He was a major contributor to the revival of traditional British textile arts and methods of production. His literary contributions helped to establish the modern fantasy genre, while he helped win acceptance of socialism in fin de siècle Great Britain. Morris was born in Walthamstow, Essex, to a wealthy middle-class family. He came under the strong influence of medievalism while studying classics at Oxford University, where he joined the Birmingham Set. After university, he married Jane Burden, and developed close friendships with Pre-Raphaelite artists Edward Burne-Jones and Dante Gabriel Rossetti and with Neo-Gothic architect Philip Webb. Webb and Morris designed Red House in Kent where Morris lived from 1859 to 1865, before moving to Bloomsbury, central London. In 1861, Morris founded the Morris, Marshall, Faulkner & Co. decorative arts firm with Burne-Jones, Rossetti, Webb, and others, which became highly fashionable and much in demand. The firm profoundly influenced interior decoration throughout the Victorian period, with Morris designing tapestries, wallpaper, fabrics, furniture, and stained glass windows. In 1875, he assumed total control of the company, which was renamed Morris & Co. (Full article...)

    William Morris by Frederick Hollyer, 1887

    William Morris (24 March 1834 – 3 October 1896) was an English textile designer, poet, artist, writer, and socialist activist associated with the British Arts and Crafts movement. He was a major contributor to the revival of traditional British textile arts and methods of production. His literary contributions helped to establish the modern fantasy genre, while he helped win acceptance of socialism in fin de siècle Great Britain.

    Morris was born in Walthamstow, Essex, to a wealthy middle-class family. He came under the strong influence of medievalism while studying classics at Oxford University, where he joined the Birmingham Set. After university, he married Jane Burden, and developed close friendships with Pre-Raphaelite artists Edward Burne-Jones and Dante Gabriel Rossetti and with Neo-Gothic architect Philip Webb. Webb and Morris designed Red House in Kent where Morris lived from 1859 to 1865, before moving to Bloomsbury, central London. In 1861, Morris founded the Morris, Marshall, Faulkner & Co. decorative arts firm with Burne-Jones, Rossetti, Webb, and others, which became highly fashionable and much in demand. The firm profoundly influenced interior decoration throughout the Victorian period, with Morris designing tapestries, wallpaper, fabrics, furniture, and stained glass windows. In 1875, he assumed total control of the company, which was renamed Morris & Co. (Full article...)
  • Image 4 Warp and weft in plain weaving Weaving is a method of textile production in which two distinct sets of yarns or threads are interlaced at right angles to form a fabric or cloth. Other methods are knitting, crocheting, felting, and braiding or plaiting. The longitudinal threads are called the warp and the lateral threads are the weft, woof, or filling. The method in which these threads are interwoven affects the characteristics of the cloth. Cloth is usually woven on a loom, a device that holds the warp threads in place while filling threads are woven through them. A fabric band that meets this definition of cloth (warp threads with a weft thread winding between) can also be made using other methods, including tablet weaving, back strap loom, or other techniques that can be done without looms. The way the warp and filling threads interlace with each other is called the weave. The majority of woven products are created with one of three basic weaves: plain weave, satin weave, or twill weave. Woven cloth can be plain or classic (in one colour or a simple pattern), or can be woven in decorative or artistic design. (Full article...)
    Warp and weft in plain weaving

    Weaving is a method of textile production in which two distinct sets of yarns or threads are interlaced at right angles to form a fabric or cloth. Other methods are knitting, crocheting, felting, and braiding or plaiting. The longitudinal threads are called the warp and the lateral threads are the weft, woof, or filling. The method in which these threads are interwoven affects the characteristics of the cloth.
    Cloth is usually woven on a loom, a device that holds the warp threads in place while filling threads are woven through them. A fabric band that meets this definition of cloth (warp threads with a weft thread winding between) can also be made using other methods, including tablet weaving, back strap loom, or other techniques that can be done without looms.

    The way the warp and filling threads interlace with each other is called the weave. The majority of woven products are created with one of three basic weaves: plain weave, satin weave, or twill weave. Woven cloth can be plain or classic (in one colour or a simple pattern), or can be woven in decorative or artistic design. (Full article...)
  • Image 5 The Silk Road (Chinese: 丝绸之路) was a network of Eurasian trade routes active from the second century BCE until the mid-15th century. Spanning over 6,400 kilometers (4,000 miles), it played a central role in facilitating economic, cultural, political, and religious interactions between the East and West. The name "Silk Road," first coined in the late 19th century, has fallen into disuse among some modern historians in favor of Silk Routes, on the grounds that it more accurately describes the intricate web of land and sea routes connecting Central, East, South, Southeast, and West Asia as well as East Africa and Southern Europe. The Silk Road derives its name from the highly lucrative trade of silk textiles that were produced almost exclusively in China. The network began with the Han dynasty's expansion into Central Asia around 114 BCE through the missions and explorations of the Chinese imperial envoy Zhang Qian, which brought the region under unified control. The Parthian Empire provided a bridge to East Africa and the Mediterranean. By the early first century CE, Chinese silk was widely sought-after in Rome, Egypt, and Greece. Other lucrative commodities from the East included tea, dyes, perfumes, and porcelain; among Western exports were horses, camels, honey, wine, and gold. Aside from generating substantial wealth for emerging mercantile classes, the proliferation of goods such as paper and gunpowder greatly altered the trajectory of various realms, if not world history. (Full article...)

    The Silk Road (Chinese: 丝绸之路) was a network of Eurasian trade routes active from the second century BCE until the mid-15th century. Spanning over 6,400 kilometers (4,000 miles), it played a central role in facilitating economic, cultural, political, and religious interactions between the East and West. The name "Silk Road," first coined in the late 19th century, has fallen into disuse among some modern historians in favor of Silk Routes, on the grounds that it more accurately describes the intricate web of land and sea routes connecting Central, East, South, Southeast, and West Asia as well as East Africa and Southern Europe.

    The Silk Road derives its name from the highly lucrative trade of silk textiles that were produced almost exclusively in China. The network began with the Han dynasty's expansion into Central Asia around 114 BCE through the missions and explorations of the Chinese imperial envoy Zhang Qian, which brought the region under unified control. The Parthian Empire provided a bridge to East Africa and the Mediterranean. By the early first century CE, Chinese silk was widely sought-after in Rome, Egypt, and Greece. Other lucrative commodities from the East included tea, dyes, perfumes, and porcelain; among Western exports were horses, camels, honey, wine, and gold. Aside from generating substantial wealth for emerging mercantile classes, the proliferation of goods such as paper and gunpowder greatly altered the trajectory of various realms, if not world history. (Full article...)
  • Image 6 Reconstruction of a Saxon sprang hairnet Sprang is an ancient method of constructing fabric that has a natural elasticity. Its appearance is similar to netting, but unlike netting, sprang is constructed entirely from warp threads. Archaeological evidence indicates that sprang predates knitting; the two needlework forms bear a visible resemblance and serve similar functions but require different production techniques. Although examples of sprang have been unearthed from as early as the Bronze Age, sprang was almost entirely undocumented in written records until the late nineteenth century when archaeological finds generated interest in Europe. Museum examples of sprang had been misidentified as knitting or lace until discoveries of ancient examples prompted reexamination of newer pieces. Subsequently, sprang has been identified in a variety of cultures and traditions across several continents. Its practice as a folk art waned during the twentieth century and sprang traditions have disappeared in most locales. Knitting has largely supplanted sprang. (Full article...)
    Reconstruction of a Saxon sprang hairnet

    Sprang is an ancient method of constructing fabric that has a natural elasticity. Its appearance is similar to netting, but unlike netting, sprang is constructed entirely from warp threads. Archaeological evidence indicates that sprang predates knitting; the two needlework forms bear a visible resemblance and serve similar functions but require different production techniques.

    Although examples of sprang have been unearthed from as early as the Bronze Age, sprang was almost entirely undocumented in written records until the late nineteenth century when archaeological finds generated interest in Europe. Museum examples of sprang had been misidentified as knitting or lace until discoveries of ancient examples prompted reexamination of newer pieces. Subsequently, sprang has been identified in a variety of cultures and traditions across several continents. Its practice as a folk art waned during the twentieth century and sprang traditions have disappeared in most locales. Knitting has largely supplanted sprang. (Full article...)
  • Image 7 Striking CIO mill workers in Georgia, May 1941. Emil Rieve (June 8, 1892 – January 24, 1975) was an American labor leader. He was president of the Textile Workers Union of America (TWUA) from 1939 to 1956, a vice president of the Congress of Industrial Organizations (CIO) from 1939 to 1955, and a vice president of the AFL-CIO from 1955 to 1960. Emil Rieve was born in Poland and moved to Pennsylvania as a child. He left school early and first became a union member at age fifteen, quickly rising within the union hierarchy. He organized his first strike in 1930 in Reading, Pennsylvania. His aggressive drives to unionize the region's textile workers and achieve union recognition led to the Reading Formula of 1933 in negotiating with the National Labor Board, a precedent which resolved large numbers of other labor disputes. Rieve was a major figure in the unsuccessful textile workers strike of 1934. When the Congress of Industrial Organizations formed the following year, Rieve received international recognition for his efforts to avoid a rift with the American Federation of Labor. (Full article...)
    Striking CIO mill workers in Georgia, May 1941.

    Emil Rieve (June 8, 1892 – January 24, 1975) was an American labor leader. He was president of the Textile Workers Union of America (TWUA) from 1939 to 1956, a vice president of the Congress of Industrial Organizations (CIO) from 1939 to 1955, and a vice president of the AFL-CIO from 1955 to 1960.

    Emil Rieve was born in Poland and moved to Pennsylvania as a child. He left school early and first became a union member at age fifteen, quickly rising within the union hierarchy. He organized his first strike in 1930 in Reading, Pennsylvania. His aggressive drives to unionize the region's textile workers and achieve union recognition led to the Reading Formula of 1933 in negotiating with the National Labor Board, a precedent which resolved large numbers of other labor disputes. Rieve was a major figure in the unsuccessful textile workers strike of 1934. When the Congress of Industrial Organizations formed the following year, Rieve received international recognition for his efforts to avoid a rift with the American Federation of Labor. (Full article...)
  • Image 8 Gunta Stölzl (5 March 1897 – 22 April 1983) was a German textile artist who played a fundamental role in the development of the Bauhaus school's weaving workshop, where she created enormous change as it transitioned from individual pictorial works to modern industrial designs. She was one of a small number of female teachers on the Bauhaus' staff and the first to hold the title of "Master". Her textile work is thought to typify the distinctive style of Bauhaus textiles. She joined the Bauhaus as a student in 1919, became a junior master in 1927. She was dismissed for political reasons in 1931, two years before the Bauhaus closed under pressure from the Nazis. (Full article...)

    Gunta Stölzl (5 March 1897 – 22 April 1983) was a German textile artist who played a fundamental role in the development of the Bauhaus school's weaving workshop, where she created enormous change as it transitioned from individual pictorial works to modern industrial designs. She was one of a small number of female teachers on the Bauhaus' staff and the first to hold the title of "Master".

    Her textile work is thought to typify the distinctive style of Bauhaus textiles. She joined the Bauhaus as a student in 1919, became a junior master in 1927. She was dismissed for political reasons in 1931, two years before the Bauhaus closed under pressure from the Nazis. (Full article...)
  • Image 9 Samuel Slater Samuel Slater (June 9, 1768 – April 21, 1835) was an early English-American industrialist known as the "Father of the American Industrial Revolution", a phrase coined by Andrew Jackson, and the "Father of the American Factory System". In the United Kingdom, he was called "Slater the Traitor" and "Sam the Slate" because he brought British textile technology to the United States, modifying it for American use. He memorized the textile factory machinery designs as an apprentice to a pioneer in the British industry before migrating to the U.S. at the age of 21. Slater designed the first textile mills in the U.S. and later went into business for himself, developing a family business with his sons. He eventually owned 13 spinning mills and had developed tenant farms and company towns around his textile mills, such as Slatersville, Rhode Island. (Full article...)

    Samuel Slater

    Samuel Slater (June 9, 1768 – April 21, 1835) was an early English-American industrialist known as the "Father of the American Industrial Revolution", a phrase coined by Andrew Jackson, and the "Father of the American Factory System". In the United Kingdom, he was called "Slater the Traitor" and "Sam the Slate" because he brought British textile technology to the United States, modifying it for American use. He memorized the textile factory machinery designs as an apprentice to a pioneer in the British industry before migrating to the U.S. at the age of 21.

    Slater designed the first textile mills in the U.S. and later went into business for himself, developing a family business with his sons. He eventually owned 13 spinning mills and had developed tenant farms and company towns around his textile mills, such as Slatersville, Rhode Island. (Full article...)
  • Image 10 1950s huipil Huipil [ˈwipil] (Nahuatl: huīpīlli [wiːˈpiːlːi]; Ch'orti': b’ujk; Chuj: nip) is the most common traditional garment worn by indigenous women from central Mexico to Central America. It is a loose-fitting tunic, generally made from two or three rectangular pieces of fabric, which are then joined with stitching, ribbons, or fabric strips, with an opening for the head and, if the sides are sewn, openings for the arms. Traditional huipils, especially ceremonial ones, are usually made with fabric woven on a backstrap loom and are decorated with designs woven into the fabric, embroidery, ribbons, lace, and more. However, some huipils are also made from commercial fabric. (Full article...)
    1950s huipil


    Huipil [ˈwipil] (Nahuatl: huīpīlli [wiːˈpiːlːi]; Ch'orti': b’ujk; Chuj: nip) is the most common traditional garment worn by indigenous women from central Mexico to Central America.

    It is a loose-fitting tunic, generally made from two or three rectangular pieces of fabric, which are then joined with stitching, ribbons, or fabric strips, with an opening for the head and, if the sides are sewn, openings for the arms. Traditional huipils, especially ceremonial ones, are usually made with fabric woven on a backstrap loom and are decorated with designs woven into the fabric, embroidery, ribbons, lace, and more. However, some huipils are also made from commercial fabric. (Full article...)
  • Image 11 Kimono for a young woman (furisode), Japan, 1912–1926 The Khalili Collection of Kimono is a private collection of more than 450 Japanese kimono assembled by the British-Iranian scholar, collector and philanthropist Nasser D. Khalili. It is one of eight collections assembled, published and exhibited by Khalili, each of which is considered to be among the most important collections within their respective fields. The Khalili Collection of Kimono includes formal, semi-formal, and informal kimono made for men, women, and children, illustrating the evolution of the kimono through cut, construction, materials, and decorative techniques from the 17th through the 20th centuries, with kimono representing the Edo period, the Meiji period, the Taishō period, and the Shōwa period. The kimono within the collection are not on permanent display, but are periodically lent or donated in part to cultural institutions; including the Kremlin Museums in Moscow and the Victoria and Albert Museum in London. Khalili, who also owns a collection of Meiji-era Japanese art, describes kimono as "one of the wonders of the world." He started the kimono collection with the aim of collecting and cataloguing cultural works that were not already actively being collected. (Full article...)

    Kimono for a young woman (furisode), Japan, 1912–1926

    The Khalili Collection of Kimono is a private collection of more than 450 Japanese kimono assembled by the British-Iranian scholar, collector and philanthropist Nasser D. Khalili. It is one of eight collections assembled, published and exhibited by Khalili, each of which is considered to be among the most important collections within their respective fields.

    The Khalili Collection of Kimono includes formal, semi-formal, and informal kimono made for men, women, and children, illustrating the evolution of the kimono through cut, construction, materials, and decorative techniques from the 17th through the 20th centuries, with kimono representing the Edo period, the Meiji period, the Taishō period, and the Shōwa period. The kimono within the collection are not on permanent display, but are periodically lent or donated in part to cultural institutions; including the Kremlin Museums in Moscow and the Victoria and Albert Museum in London. Khalili, who also owns a collection of Meiji-era Japanese art, describes kimono as "one of the wonders of the world." He started the kimono collection with the aim of collecting and cataloguing cultural works that were not already actively being collected. (Full article...)
  • Image 12 William Perkin (1838–1907) Sir William Henry Perkin FRS (12 March 1838 – 14 July 1907) was a British chemist and entrepreneur best known for his serendipitous discovery of the first commercial synthetic organic dye, mauveine, made from aniline. Though he failed in trying to synthesise quinine for the treatment of malaria, he became successful in the field of dyes after his first discovery at the age of 18. Perkin set up a factory to produce the dye industrially. Lee Blaszczyk, professor of business history at the University of Leeds, states, "By laying the foundation for the synthetic organic chemicals industry, Perkin helped to revolutionize the world of fashion." (Full article...)

    William Perkin (1838–1907)

    Sir William Henry Perkin FRS (12 March 1838 – 14 July 1907) was a British chemist and entrepreneur best known for his serendipitous discovery of the first commercial synthetic organic dye, mauveine, made from aniline. Though he failed in trying to synthesise quinine for the treatment of malaria, he became successful in the field of dyes after his first discovery at the age of 18.

    Perkin set up a factory to produce the dye industrially. Lee Blaszczyk, professor of business history at the University of Leeds, states, "By laying the foundation for the synthetic organic chemicals industry, Perkin helped to revolutionize the world of fashion." (Full article...)
  • Image 13 Manually decontaminating cotton before processing at an Indian spinning mill, in 2010. Cotton is a soft, fluffy staple fiber that grows in a boll, or protective case, around the seeds of the cotton plants of the genus Gossypium in the mallow family Malvaceae. The fiber is almost pure cellulose, and can contain minor percentages of waxes, fats, pectins, and water. Under natural conditions, the cotton bolls will increase the dispersal of the seeds. The plant is a shrub native to tropical and subtropical regions around the world, including the Americas, Africa, Egypt and India. The greatest diversity of wild cotton species is found in Mexico, followed by Australia and Africa. Cotton was independently domesticated in the Old and New Worlds. (Full article...)
    Manually decontaminating cotton before processing at an Indian spinning mill, in 2010.


    Cotton is a soft, fluffy staple fiber that grows in a boll, or protective case, around the seeds of the cotton plants of the genus Gossypium in the mallow family Malvaceae. The fiber is almost pure cellulose, and can contain minor percentages of waxes, fats, pectins, and water. Under natural conditions, the cotton bolls will increase the dispersal of the seeds.

    The plant is a shrub native to tropical and subtropical regions around the world, including the Americas, Africa, Egypt and India. The greatest diversity of wild cotton species is found in Mexico, followed by Australia and Africa. Cotton was independently domesticated in the Old and New Worlds. (Full article...)
  • Image 14 Fabrics dyed in the current era from different species of sea snail. The colours in this photograph may not represent them precisely. Tyrian purple (Ancient Greek: πορφύρα porphúra; Latin: purpura), also known as royal purple, imperial purple, or imperial dye, is a reddish-purple natural dye. The name Tyrian refers to Tyre, Lebanon, once Phoenicia. It is secreted by several species of predatory sea snails in the family Muricidae, rock snails originally known by the name Murex (Bolinus brandaris, Hexaplex trunculus and Stramonita haemastoma). In ancient times, extracting this dye involved tens of thousands of snails and substantial labour, and as a result, the dye was highly valued. The colored compound is 6,6'-dibromoindigo. (Full article...)
    Fabrics dyed in the current era from different species of sea snail. The colours in this photograph may not represent them precisely.

    Tyrian purple (Ancient Greek: πορφύρα porphúra; Latin: purpura), also known as royal purple, imperial purple, or imperial dye, is a reddish-purple natural dye. The name Tyrian refers to Tyre, Lebanon, once Phoenicia. It is secreted by several species of predatory sea snails in the family Muricidae, rock snails originally known by the name Murex (Bolinus brandaris, Hexaplex trunculus and Stramonita haemastoma). In ancient times, extracting this dye involved tens of thousands of snails and substantial labour, and as a result, the dye was highly valued. The colored compound is 6,6'-dibromoindigo. (Full article...)
  • Image 15 "Summer", detail from a tapestry called The Seasons or Orchard, woven by Morris & Co. in wool, silk, and mohair on a cotton ground at Merton Abbey in 1890, designed by William Morris and John Henry Dearle. John Henry Dearle (22 August 1859 – 15 January 1932) was a British textile and stained-glass designer trained by the artist and craftsman William Morris who was much influenced by the Pre-Raphaelite Brotherhood. Dearle designed many of the later wallpapers and textiles released by Morris & Co., and contributed background and foliage patterns to tapestry designs featuring figures by Edward Burne-Jones and others. Beginning in his teens as a shop assistant and then design apprentice, Dearle rose to become Morris & Co.'s chief designer by 1890, creating designs for tapestries, embroidery, wallpapers, woven and printed textiles, stained glass, and carpets. Following Morris's death in 1896, Dearle was appointed Art Director of the firm, and became its principal stained glass designer on the death of Burne-Jones in 1898. Morris's reputation overshadowed Dearle's work throughout Dearle's career: Dearle exhibited early patterns under Morris's name and Dearle designs continue to be sold as Morris patterns. Critical assessment of Dearle's work then underwent a significant change during the final decades of the twentieth century, recognizing Dearle's mature work as having a unique artistic vision of its own. Dearle always remained close to Morris's aesthetic, but from the 1890s onward he incorporated a distinctive set of Persian and Turkish influences. (Full article...)
    "Summer", detail from a tapestry called The Seasons or Orchard, woven by Morris & Co. in wool, silk, and mohair on a cotton ground at Merton Abbey in 1890, designed by William Morris and John Henry Dearle.

    John Henry Dearle (22 August 1859 – 15 January 1932) was a British textile and stained-glass designer trained by the artist and craftsman William Morris who was much influenced by the Pre-Raphaelite Brotherhood. Dearle designed many of the later wallpapers and textiles released by Morris & Co., and contributed background and foliage patterns to tapestry designs featuring figures by Edward Burne-Jones and others. Beginning in his teens as a shop assistant and then design apprentice, Dearle rose to become Morris & Co.'s chief designer by 1890, creating designs for tapestries, embroidery, wallpapers, woven and printed textiles, stained glass, and carpets. Following Morris's death in 1896, Dearle was appointed Art Director of the firm, and became its principal stained glass designer on the death of Burne-Jones in 1898.

    Morris's reputation overshadowed Dearle's work throughout Dearle's career: Dearle exhibited early patterns under Morris's name and Dearle designs continue to be sold as Morris patterns. Critical assessment of Dearle's work then underwent a significant change during the final decades of the twentieth century, recognizing Dearle's mature work as having a unique artistic vision of its own. Dearle always remained close to Morris's aesthetic, but from the 1890s onward he incorporated a distinctive set of Persian and Turkish influences. (Full article...)
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Did you know (auto generated)

  • ... that during the Second World War, the British government's campaign Make-Do and Mend encouraged the public to fashion men's clothes into womenswear?
  • ... that Liberian paramount chief Tamba Taylor worked as a tailor and claimed to have sewn clothes for Ethiopian emperor Haile Selassie and Ghanaian president Kwame Nkrumah?
  • ... that Jacqueline Kennedy did not want to make her clothes the focus of her 1962 goodwill tour of India and Pakistan, but still wore 22 different outfits in the first nine days?
  • ... that during a renovation of 4 Park Avenue, workers found a sealed room with women's clothes and shoes that was not in the building's blueprints?
  • ... that after being criticized for dressing "like a doll" at an important meeting, pioneering Russian feminist Anna Filosofova replied that "clothes do not make the woman"?
  • ... that Church Clothes 4 deals with Christian hip hop artist Lecrae's faith deconstruction and reconstruction?

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Detail of a crocheted tablecloth.
Detail of a crocheted tablecloth.
Credit: Joaquim Alves Gaspar

Crochet is a process of creating fabric from yarn or thread using a crochet hook. The word is derived from the Middle French word croc or croche, meaning hook. Crocheting, similar to knitting, consists of pulling loops of yarn through other loops. Crochet differs from knitting in that only one loop is active at one time (the sole exception being Tunisian crochet), and that a crochet hook is used instead of knitting needles.

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The following are images from various clothing-related articles on Wikipedia.

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Gustave Flaubert
Paris, more vague than the ocean, glimmered before Emma's eyes in an atmosphere of vermilion. The many lives that stirred amid this tumult were, however, divided into parts, classed as distinct pictures. Emma perceived only two or three that hid from her all the rest, and in themselves represented all humanity. The world of ambassadors moved over polished floors in drawing rooms lined with mirrors, round oval tables covered with velvet and gold-fringed cloths. There were dresses with trains, deep mysteries, anguish hidden beneath smiles. Then came the society of the duchesses; all were pale; all got up at four o'clock; the women, poor angels, wore English point on their petticoats; and the men, unappreciated geniuses under a frivolous outward seeming, rode horses to death at pleasure parties, spent the summer season at Baden, and towards the forties married heiresses. In the private rooms of restaurants, where one sups after midnight by the light of wax candles, laughed the motley crowd of men of letters and actresses. They were prodigal as kings, full of ideal, ambitious, fantastic frenzy. This was an existence outside that of all others, between heaven and earth, in the midst of storms, having something of the sublime. For the rest of the world it was lost, with no particular place and as if non-existent. The nearer things were, moreover, the more her thoughts turned away from them. All her immediate surroundings, the wearisome country, the middle-class imbeciles, the mediocrity of existence, seemed to her exceptional, a peculiar chance that had caught hold of her, while beyond stretched, as far as eye could see, an immense land of joys and passions. She confused in her desire the sensualities of luxury with the delights of the heart, elegance of manners with delicacy of sentiment. Did not love, like Indian plants, need a special soil, a particular temperature? Signs by moonlight, long embraces, tears flowing over yielded hands, all the fevers of the flesh and the languors of tenderness could not be separated from the balconies of great castles full of indolence, from boudoirs with silken curtains and thick carpets, well-filled flower-stands, a bed on a raised dias, nor from the flashing of precious stones and the shoulder-knots of liveries.

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