Textile Design Quotes

When Art struggles, it succeeds; when revelling in its own successes, it as singularly fails.

Art is no longer snobbish or cowardly. It teaches peasants to use tractors, gives lyrics to young soldiers, designs textiles for factory women’s dresses, writes burlesque for factory theaters, does a hundred other useful tasks. Art is useful as bread.

A great textile, like the William Morris Strawberry Thief, is a piece of art, but it takes a lot of time to make a piece of art. It isn't simply design either. You have to understand the fabrics and what they can bear. You have to understand the dyeing process and how to achieve certain colors and what will make the color last through the ages. If you make a mistake, you might have to begin again." "I don't think I know Strawberry Thief," Sadie said. "One moment," Mrs. Watanabe said. Mrs. Watanabe went into her bedroom, and she returned with a little footstool that was upholstered in a reproduction of Strawberry Thief. The pattern depicted birds and strawberries in a garden, and although Sadie hadn't known the name, she recognized the print when she saw it. "This was William Morris's garden. These were his strawberries. Those were birds he knew. No designer had ever used red or yellow in an indigo discharge dyeing technique before. He must have had to start over many times to get the colors right. This fabric is not just a fabric. It's the story of failure and of perseverance, of the discipline of a craftsman, of the life of an artist.

Art is no longer snobbish or cowardly. It teaches peasants to use tractors, gives lyrics to young soldiers, designs textiles for factory women’s dresses, writes burlesque for factory theatres, does a hundred other useful tasks. Art is useful as bread.

Mrs. Watanabe loved hand painting, quilting, and the discipline of woven textiles, but she worried these techniques were a dying art. “Computers make everything too easy,” she said with a sigh. “People design very quickly on a monitor, and they print on some enormous industrial printer in a warehouse in a distant country, and the designer hasn’t touched a piece of fabric at any point in the process or gotten her hands dirty with ink. Computers are great for experimentation, but they’re bad for deep thinking.

A great textile, like the William Morris Strawberry Thief, is a piece of art, but it takes a lot of time to make a piece of art. It isn’t simply design either. You have to understand the fabrics and what they can bear. You have to understand the dyeing process and how to achieve certain colors and what will make the color last through the ages. If you make a mistake, you might have to begin again.

South where I grew up. In large measure, this reflected a racial and gender caste system that denied most other opportunities to African American women. That system was designed to ensure a ready supply of cheap black labor, especially for the Southern ruling classes that emerged out of slavery’s old planter class. But the privilege of exploiting black labor extended even to fairly lowly whites; textile mill hands and poor farmers, for example, frequently employed their black

No one can or will ever replace the love Andy, you, and I shared, but life goes on and we have to flow with it. I completed my postgraduate fashion design at the Royal College of Art, London in 1977; I then worked for Liberty of London for a few years before venturing into designing my own bridal wear collections for several major London department stores. In 1979, the Hong Kong Polytechnic now a university invited me to teach fashion design at their clothing and textile institute. Andy and I separated in 1970. He left for New Zealand to pursue engineering while I stayed in London to complete my fashion studies. Those early years of our separation were extremely difficult for the both of us. As you are well aware, we were very close at boarding school. After your departure to Vienna, Andy and I were inseparable. He asked me to join him permanently in Christchurch, but I was determined to enroll in a London fashion school. We corresponded for a couple of years before mutually deciding that it was best to severe ties and start afresh.

A great textile, like the William Morris Strawberry Thief, is a pice of art, but it takes a lot of time to make a piece of art. It isn't simply design either. You have to understand the fabrics and what they can bear. You have to understand the dyeing process and how to achieve certain colors and what will make the color last through the ages. If you make a mistake, you might have to begin again." "I don't think I know Strawberry Thief," Sadie said. "One moment," Mrs. Watanabe said. Mrs. Watanabe went into her bedroom, and she returned with a little footstool that was upholstered in a reproduction of Strawberry Thief. The pattern depicted birds and strawberries in a garden, and although Sadie hadn't known the name, she recognized the print when she saw it. "This was William Morris's garden. These were his strawberries. Those were birds he knew. No designer had ever used red or yellow in an indigo discharge dyeing technique before. He must have had to start over many times to get the colors right. This fabric is not just a fabric. It's the story of failure and of perseverance, of the discipline of a craftsman, of the life of an artist.

A great textile, like the William Morris Strawberry Thief, is a piece of art, but it takes a lot of time to make a piece of art. It isn’t simply design either. You have to understand the fabrics and what they can bear. You have to understand the dyeing process and how to achieve certain colors and what will make the color last through the ages. If you make a mistake, you might have to begin again.” “I don’t think I know Strawberry Thief,” Sadie said. “One moment,” Mrs. Watanabe said. Mrs. Watanabe went into her bedroom, and she returned with a little footstool that was upholstered in a reproduction of Strawberry Thief. The pattern depicted birds and strawberries in a garden, and although Sadie hadn’t known the name, she recognized the print when she saw it. “This was William Morris’s garden. These were his strawberries. These were birds he knew. No designer had ever used red or yellow in an indigo discharge dyeing technique before. He must have had to start over many times to get the colors right. This fabric is not just a fabric. It’s the story of failure and of perseverance, of the discipline of a craftsman, of the life of an artist.

Regardless of whether you think the industrial era has been good or bad, three profoundly fundamental shifts underlie this revolution. The first is that industrialists harnessed new sources of energy, primarily to produce things. Preindustrial people occasionally used wind or water to generate power, but they mostly relied on muscles—human and animal—to generate force. Industrial pioneers such as James Watt (who invented the modern steam engine) figured out how to transform energy from fossil fuels such as coal, oil, and gas into steam, electricity, and other kinds of power to run machines. The first of these machines were designed to make textiles, but within decades others were invented to make iron, mill wood, plow fields, transport things, and do just about everything else one can manufacture and sell (including beer)7. A second major component of the Industrial Revolution was a reorganization of economies and social institutions. As industrialization gathered steam, capitalism, in which individuals compete to produce goods and services for profit, became the world’s dominant economic system, spurring the development of further industrialization and social change. As workers changed their locus of activity from the farm to factories and companies, more people had to work together even as they needed to perform more specialized activities. Factories required more coordination and regulation. In

And then there’s Stella. Stella is an interior decorator who’s been in the business for more than a decade. She had a thriving design firm and accolades out the wazoo. And yet, she still felt a niggling need to go to school to get certified. “Why would you want to waste your time doing that?” I asked. “You have a waiting list for your clients.” “Well, I’d feel more legit,” she said. FOR BUSINESS For the love of God and the information highway, please write your bio in first person—we all know you wrote it anyway. One of the most highly trafficked pages on small business websites is the “About” page. People are hiring you, paying attention to you, coming to see you. So they want to hear from… you. “You made more than a hundred grand last year and your clients refer you all the time. Isn’t that legit?” I asked. She was resisting, so I ramped up my persisting. “You know what you should say in your bio?” I said to her. “Say that you’re self-taught, in eighteen-point bold type. Let people know that you never set foot in a design college because you were too busy sewing your own drapes, shopping for textiles with your grandma, and learning how to build cabinets after school with your dad. It’s in your blood. Self-taught says ‘extra amazing.’ Self-taught says ‘natural talent.’ Just come out with it.” She skipped school.

She said, ‘Have nothing in your houses which you do not know to be useful or believe to be beautiful.’ That was the beginning of my passion for design, textiles and William Morris, though I didn’t know then that she was quoting him. She went to

We turn acoustic issues into artistic solutions. Our one-of-one, customized acoustic textiles solve soundproofing issues while simultaneously creating a visually stunning brand asset for happy clients. Our range of acoustic textiles offer artists and architects the means to turn entire walls and ceilings into sound absorbing surfaces, and they can even be integrated with recessed LED lighting for unparalleled and eco-friendly design versatility.

According to Green Cross Switzerland, 9 trillion gallons of water are used annually in textile production around the world. Most of it is dumped untreated.3

Benoit began life in the year 1889, with the coming of the Yazoo and Mississippi Valley Railroad. There was never any plan to run track through the plantations south of Rosedale, but James Richardson, the largest individual cotton grower in the world at that time, offered the railroad free use of his land if, in turn, the company built him a station. James was the eldest son of Edmund Richardson, a planter whose holdings at one time included banks, steamboats, and railroads. He owned three-dozen cotton plantations and had a controlling interest in Mississippi Mills, the largest textile plant in the Lower South. His New Orleans-based brokerage house, Richardson and May, handled more than 250,000 bales of cotton every year. Edmund Richardson was not always so prosperous. By the end of the Civil War, he had lost almost his entire net worth, close to $1 million. So in 1868, Richardson struck a deal with the federal authorities in Mississippi to contract labor from the state penitentiary, which was overflowing with ex-slaves, and work the men outside prison walls. He promised to feed and clothe the prisoners, and in return, the government agreed to pay him $18,000 a year for their maintenance. The contract struck between Richardson and the State of Mississippi began an era of convict leasing that would spread throughout the South. Before it was over, a generation of black prisoners would suffer and die under conditions that were in many cases worse than anything they had ever experienced as slaves. Confining his laborers to primitive camps, Richardson forced the convicts to clear hundreds of acres of dense woodland throughout the Yazoo Delta. When the land was cleared, he put prisoners to work raising and picking cotton on the plowed gound. Through this new system, Richardson regained his fortune. By 1880 he had built a mansion in New Orleans, another in Jackson, and a sprawling plantation house known as Refuge in the Yazoo Delta. When he died in 1886, he left his holdings to his eldest son, James. As an inveterate gambler and drunk, James decided to spend his inheritance building a new town, developed solely as a center for sport. He bought racehorses and designed a racetrack. He built five brick stores and four homes. In 1889, when the station stop was finally completed for his new city, James told the railroad to call the town Benoit, after the family auditor. James’s sudden death in 1898 put an end to his ambitions for the town. But decades later, a Richardson Street still ran through Benoit, westward toward the river, in crumbling tribute to the man.

To put it in somewhat contradictory terms, true tea existed only before the advent of the tea ceremony. After the coming of tea, when deformation came to be consciously sought, common everyday beauty disappeared and unnatural manipulation began. This meant the demise of the beauty of tea. Every country, according to its historical and geographical conditions, has its own peculiar character. India is characterized by intellect, China by ready action and Japan by aesthetic perception - the three splendors of the East. Indians are adept at thinking, Chinese at acting and Japanese at appreciating art. In Europe, France is close to Japan, Judaism to China and Germany to India. In Germany, however, the intellect tends to be philosophical rather than religious. While there may be many intrinsic contradictions, I still think that there is probably no country like Japan whose people live in surroundings composed of specially chosen objects. Behind it all is undoubtedly some sort of educated taste or standard of beauty. In Korea, the number of monochrome pieces in white or black glaze is stupendous. there are no intricate designs featuring a multitude of colors. the same is true for Korean textiles, which are undyed. Everyone wears white clothing.

I'm sick and tired of red ribbons and the Names Quilt. There's something 'nice' about a red ribbon for AIDS awareness. There's nothing 'nice' about AIDS. Leave it to some design queens to transform a plague into a fashion statement. As for the Names Quilt, I don't want to end up a rectangular rag, however suitably decorated. The textile responses to the AIDS crisis leave me cold. I prefer to wear my ACT UP button that says 'ACT UP, FIGHT BACK, FIGHT AIDS' and have people on the subway cringe when they read the last word on it.

FASHION DESIGN @ IIIFT Mumbai IIIFT’s curriculum aim to equip students with knowledge on Design Concept, Fashion Illustration, Textile Design, Pattern Making, Garment Construction, colours, silhouette, proportion, fabric, print, pattern, texture, sampling and construction; the prototyping stage of flat pattern cutting, structure, and embellishment till the promotion of the design. Focus on practical work makes IIIFT the best fashion design college in mumbai.

Print / textile design ● Sourcing (trims / textiles / factories) ● Product development ● Consulting (design / fit / production)

Waist Trainers from Hourglass Waist aim to burn tummy fat as well as shave off inches around your waist and thighs. With over 7 years of experience, Hourglass Waist has designed several award-winning waist trainers that are comfortable, affordable & always in style. Corset has been used for hundreds of years and today we have products such as the gym waist trainer pro which use smart textiles. This new design has a sauna-like effect when you train, meaning more sweat and more calories burnt. This new technology and many others have made Hourglass Waist the market leader in Australia.

classical construction of a bottom weight 14.5-ounce denim is 60–64 warp yarns per inch and 38–42 filling yarns per inch. The number of warp yarns per inch is sometimes referred to as the fabric sley. The weight is influenced by the size of the yarn used, the fabric weave design and the fabric tightness. Also influencing the fabric

Zandra Rhodes Zandra Rhodes is a British fashion designer who specializes in innovative textile design. Internationally recognized for her glamorous and dramatic style, she was honored by Queen Elizabeth II in 1997 and made a Commander of the British Empire. Currently in high demand by the rich and famous worldwide, Zandra designed many garments for Diana during the nineties. Princess Diana married very young. She was a perfect, unspoiled flower with a strong, generous inner spirit, which she was probably unaware of when she married Prince Charles. She was thrust unprepared into the position of future queen of England. She had to grow up and mature in front of the public eye. That public eye was hard, judgmental, and unforgiving. Her strong inner spirit guided her to do things that normally someone in her position would not do--it would have been suppressed. Diana acted in a very genuine, caring, and natural way. I was bicycling to work in London along the leafy Bayswater Road in very casual working clothes when a huge official limousine passed me. Against the rear window were two beautiful hats; the car was obviously going to Ascot. The two young girls in the car were waving at me (very enthusiastically), one with golden corn-colored hair and the other one blond. They looked exactly like Princess Diana and Sarah Ferguson, the Duchess of York. I thought, “It cannot be them, they would not be so friendly, casual, and outgoing, and anyway, it’s the wrong side of Kensington Palace, and cars going to Ascot do not come along this road.” I pretended I had not seen them and carried on cycling. A few weeks later, I was fitting the Princess in Kensington Palace and she said to me, “Are you still riding your bike?” “Yes,” I replied. It was not until I left and drove my car out of the palace grounds that I realized the route took me exactly to the Bayswater Road, where I had seen the two waving girls! Princess Diana always tried to make me feel at home when I was fitting her. She would talk about the problems of being recognized: how she came out of her gym in Kensington High Street in the pouring rain and bumped into a famous actor. As he entered the street, he hunched his shoulders and put on dark glasses. Princess Diana said to him, “I hope they disguise you more than they do me!

Less rigorous was the second Egyptian writing system, hieratic. (The name, which is misleading, means “priestly,” but other social classes used it.) Hieratic was a simplified hieroglyphic script, designed for ink and brush on papyrus or textile: Pictures were converted to stylized outlines or strokes, with a far reduced vocabulary. Hieratic writing in its most basic form was accessible to most of the Egyptian upper and middle classes: landowners, certain merchants, and military officers.

American fashion designers are doing so much in spite of severe disadvantages in the global fashion world. First of all, they have always needed to make money from their work. They’re not subsidized by the textile mills, as the French are. And they haven’t enjoyed any of the design piracy protections that exist in Europe. It’s hard to be a designer in America! It takes a lot of courage and feistiness. In short: up with America; up with fashion. If I never get invited back to Europe, or to another conference on structural garment design, I can live with that.

The German designer Hugo Boss owned a small textile company in Metzingen, Germany. One of his early contracts was to manufacture brown shirts for the emerging Nazi Party. By 1938 the firm had become a key supplier of Nazi uniforms, including for the Army, Hitler Youth and the paramilitary SS. As the war progressed, Hugo Boss’s factories were staffed by forced labourers from France and Poland, most of whom were women.

Like any of man’s inventions, artificial intelligence can be used for good or evil. In the right hands and with proper intent, it can do beneficial things for humanity. Conversely, it can be used by evil dictators, sinister politicians, and malevolent leaders to create something as dangerous as a deadly weapon in a terrorist’s hands. Yuval Noah Harari is a leading spokesperson for the globalists and their transhumanist, AI, and Fourth Industrial Revolution agenda. Harari is also an advisor to Klaus Schwab and the World Economic Forum. Barack Obama refers to Harari as a prophet and recommends his books. Harari wrote a book titled Sapiens and another titled Homo Deus (“homo” being a Latin word for human or man, and “deus” being the Latin word for god or deity). He believes that homo sapiens as we know them have run their course and will no longer be relevant in the future. Technology will create homo deus, which will be a much superior model with upgraded physical and mental abilities. Harari tells us that humankind possesses enormous new powers, and once the threat of famine, plagues, and war is finally lifted, we will be looking for something to do with ourselves. He believes the next targets of our power and technology are likely to be immortality, happiness, and divinity. He says: “We will aim to overcome old age and even death itself. Having raised humanity above the beastly level of survival struggles, we will now aim to upgrade humans into gods, and turn homo sapiens into homo deus. When I say that humans will upgrade themselves into gods in the 21st century, this is not meant as a metaphor; I mean it literally. If you think about the gods of ancient mythology, like the Hebrew God, they have certain qualities. Not just immortality, but maybe above all, the ability to create life, to design life. We are in the process of acquiring these divine abilities. We want to learn how to engineer and produce life. It’s very likely that in the 21st century, the main products of the economy will no longer be textiles and vehicles and weapons. They will be bodies and brains and minds.48

Textile production was so important to the British economy that a new act was passed making it illegal to export textile machinery or designs.