Wool Fabric Quotes

Part of the hem floated loose. She spun around again—the fabric tightened like wool on a spindle. She breathed in fear. The boat was farther away. She swung her head around—so was the shore.

Her research revealed that knitting was a very popular indoor sport and that a loom was on permanent display at the Wool Institute, which also had a few samples of colonial fabric.

I did dream about you," she confessed. Derek smoothed his hand over her chestnut hair and brought her head closer to his. "What was I doing in your dreams?" he asked against her lips. "Chasing me," she admitted in a mortified whisper. A delicious grin curved his mouth. "Did I catch you?" Before she could reply his lips were on hers. His mouth twisted gently, his tongue hunting for an intimate taste of her. Closing her eyes, Sara made no protest as he took her wrists in his hands and twined her arms around his neck. He stretched one of his legs out to rest his foot on the seat. Caught in the lee of his powerful thighs, she had no choice but to let her body rest on the hard length of his. Leisurely he fondled and kissed her, wringing succulent delight from every nerve. As he began to slide his hand into her bodice, the thick wool fabric of her gown resisted his efforts. Foiled in his attempt to reach her breasts, he pushed a lock of hair aside and dragged his mouth over her throat. She stiffened, unable to hold back a whimper of pleasure. The carriage swayed and jolted suddenly, forcing their bodies closer with the impact. Derek felt himself approaching a flashpoint beyond which there was no return. With a tortured groan he pried Sara's voluptuous body away from his and held her away, while he struggled to emerge from a scarlet fog of desire. "Angel," he said hoarsely, nudging her toward the opposite seat. "You... you'd better go over there." Bemused, Sara nearly toppled to the floor from his gentle push. "But why?" Derek lowered his head and tunneled his fingers into his black hair. He started as he felt her hand brush the nape of his neck. "Don't touch me," he said, more roughly than he intended. Raising his head, he stared into Sara's perplexed face with a crooked smile. "Sorry," he muttered. "But if you don't move away, sweet, you're going to be lifting your heels for me right here.

Countrymen wore heavy, hard-wearing cotton fabrics that were mostly pale and undyed. Townsmen wore dark-coloured wool.

Then he forced himself to look down. Two large blots darkened his wool pants on the insides of his thighs. He touched the fabric. It was wet.

What filled the rooms of Grete's cottage so decidedly were woven baskets and wooden boxes and clay pots glazed in red and blue, each with its own mishmash of this and that. Roots and leaves still redolent of dirt. Balls of scratchy wool-purple twining into pink easing into periwinkle fading into gray. At least three boxes held squares and strips of fabric, all colors, and eight pots overflowed with apples. The walls were lined with shelves, the shelves were lined with books. Wordless spines peered out. As soon as Isabelle saw them, she itched to open it up and read it from cover to cover.

I use the word “suit” because I am writing in English, but the French tailleur—she would naturally think of clothes in French—makes intelligible that one would travel from Marrakech to the Outer Hebrides to examine the work of a number of weavers, perhaps to establish a relationship with a weaver of real gifts. It makes intelligible that one would bring one’s daughter, so that she might develop an eye for excellence in the fabric, know the marks of workmanship of real quality, observe how one develops an understanding with a craftsman of talent. The word “suit,” I think, makes this look quite mad.

Viking Age sail 100 meters square took 154 kilometers (60 miles) of yarn. Working eight hours a day with a heavy spindle whorl to produce relatively coarse yarn, a spinner would toil 385 days to make enough for the sail. Plucking the sheep and preparing the wool for spinning required another 600 days. From start to finish, Viking sails took longer to make than the ships they powered.

SHE LET US INTO THE house, which had the subtle smell of old wood and old wool—as I used to imagine Victorian homes smelled in Victorian times, before I was recently alerted to the painful truth that actually, at least here in London, they stink of whale oil, patchouli (woven into shawls to keep worms from eating the fabric in transit), and backed-up sewers. I am now convinced everyone here goes to church for the incense.

It is a gown, but one such as I have never seen before. It is composed mostly of the cloth she showed me, but there are strips of other material running through it, some diaphanous and others satiny, some patterned in butterfly wings, some felted wool. Dangling threads hang from torn edges, and a few pieces of thin fabric have been wadded up to give them a new texture. The swirling patchwork she has created is at once tattered and beautiful.

The wrapping paper had brightly colored Chinese kimonos on it. I didn’t have to look at it to know I would save it. Perhaps even create something to wear based on it. I removed the ribbon, putting it to one side for later. I opened the paper, and then the tissue paper within it, and there, staring at me, was a strangely familiar black and yellow stripe. I pulled the fabric from the parcel, and in my hands were two pairs of black and yellow tights. Adult-sized, opaque, in a wool so soft that it almost slid through my fingers.

There was no magic behind the silence - it was the soft-furnishings that did it. Overstuffed sofas were piled with velvet cushions; there were upholstered footstools, chaise longues, and armchairs; tapestries hung on the walls and were used as throws over upholstered furniture. Every floor was carpeted, every carpet overlaid with rugs. The damask that draped the windows also baffled the walls. Just as blotting paper absorbs ink, so all this wool and velvet absorbed sound, with on difference: Where blotting paper takes up only excess ink, the fabric of the house seemed to suck in the very essence of the words we spoke.

You look beautiful, ma'am," Ernestine said, delighted with the results of her work. She had drawn Phoebe's hair up into a coil of neatly pinned rolls and curls, winding a velvet ribbon around the base. A few loose curls had been allowed to dangle down the back of her head, which felt a bit strange: she wasn't accustomed to leaving any loose pieces in her usual hairstyles. Ernestine had finished the arrangement by pinning a small, fresh pink rose on the right side of the coil. The new coiffure was very flattering, but the formal gown had turned out to be far less inconspicuous than Phoebe had expected. It was the pale beige of unbleached linen or natural wool, but the silk had been infused with exceptionally fine metallic threads of gold and silver, giving the fabric a pearly luster. A garland of peonies, roses, and delicate green silk leaves trimmed the deeply scooped neckline, while another flower garland caught up the gossamer-thin silk and tulle layers of the skirts at one side.

Pandora looked dully at the red wax seal on the envelope, stamped with an elaborate family crest. If Gabriel had written something nice to her, she didn’t want to read it. If he’d written something not nice, she didn’t want to read that either. “By the holy poker,” Ida exclaimed, “just open it!” Reluctantly Pandora complied. As she pulled a small folded note from the envelope, a tiny, fuzzy object fell out. Reflexively she yelped, thinking it was an insect. But at second glance, she realized it was a bit of fabric. Picking it up gingerly, she saw that it was one of the decorative felt leaves from her missing Berlin wool slipper. It had been carefully snipped off. My lady, Your slipper is being held for ransom. If you ever want to see it again, come alone to the formal drawing room. For every hour you delay, an additional embellishment will be removed. —St. Vincent Now Pandora was exasperated. Why was he doing this? Was he trying to draw her into another argument? “What does it say?” Ida asked. “I have to go downstairs for a hostage negotiation,” Pandora said shortly. “Would you help put me to rights?” “Yes, milady.

I turned my focus to clothes, immediately endeavoring to find just the right dress for the occasion. This was huge--my debut as the girlfriend of Marlboro Man--and I shopped with that in mind. Should I go for a sleek, sexy suit? That might seem too confident and brazen. A floral silk skirt? Too obvious for a wedding. A little black dress? Too conservative and safe. The options pummeled my brain as I browsed the choices on the racks. I tried on dress after dress, suit after suit, outfit after outfit, my frustration growing more acute with each zip of the zipper. I wanted to be a man. Men don’t agonize over what to wear to a wedding. They don’t spend seven hours trying on clothes. They don’t think of wardrobe choices as life-or-death decisions. That’s when I found it: a drop-dead gorgeous fitted suit the exact color of a stick of butter. It was snug, with just a slight hint of sexy, but the lovely, pure color made up for it. The fabric was a lightweight wool, but since the wedding would be at night, I knew it would be just fine. I loved the suit--not only would I feel pretty for Marlboro Man, but I’d also appear moderately, but not overly, confident to all his cousins, and appropriate and proper to his elderly grandmothers.

To her astonishment, he did not bear her to the floor, but lifted her in his arms instead, so that her legs wrapped around his waist. He held her weight easily, bracing her against the wall for balance, one arm protecting her from the roughness of the plaster. Her eyes widened as she felt the hard, blunt shape of his sex nudging, probing, sliding easily inside her. She was filled, impaled, her body open and helpless against the heavy intrusion. Gasping in pleasure, she clutched at the backs of his shoulders, her fingers clinging into the soft wool of his coat. It felt strangely erotic to be clasped against his fully clothed body, her bare skin tingling from the abrasion of fabric. Hungering for a taste of his skin, she tugged at his black stock and buried her mouth against the damp side of his neck. "Do you love me?" he smattered, deliberately allowing her weight to press downward, forcing her even harder onto his stiff erection. "Yes... oh, Grant..." She arched and cried out as pleasure crested inside her, spreading through her in deep, rolling waves. "Tell me," he said harshly, moving in deeper, slower thrusts that drove straight into the core of her body. She writhed, her legs flexing as she felt the ebbing sensation build again. "I love you," she gasped. "Love you... love you..." The words sent him over the dizzying edge of rapture, and he drove inside her with a groan, all his senses dissolving in blissful release.

The warm wool blanket dropped to the floor, and Lydia set her hand in the earl’s firm grip. She stuck her foot outside, but awareness wasn’t with her. That cavernous black doorway claimed her attention, and therein was her problem. Trouble came in mere seconds, as it usually did for her. The step was slick. She slipped. The sole of her leather shoe slid off the step’s edge. “Oww!” she yelped as her foot banged the graveled drive hard. Legs buckling, down she went, like a graceless sack of flour. What’s worse, she slammed into the earl, her shoulder punching his midsection. “Ooomph!” Lord Sanford grunted but moved quickly to save her from falling all the way to the ground. Her face mashed against leather and linen. Strong hands held her arms. At least she didn’t knock the earl down. Grabbing for purchase, her fingers touched warm wool…buttons…skin. Her face pressed into fabric, she murmured, “I’m so very sorry.” Lydia tried to right herself, but relief turned to horror: she was a mortified eye level with the pewter buttons of Lord Sanford’s breeches. Stalwart English mist snapped sense into her. That and seeing his placket bunched low in her fist. Her fingers grazed smooth flesh. Another, more interesting sliver of Lord Sanford’s skin was exposed: pale, intimate skin just below his navel. Lydia yanked back her hand, and a pewter button went flying. “Oh no!” she cried as humiliating heat flared across her face and neck. “Miss Montgomery? Are you injured?” Lord Sanford asked above the wind, slowly lifting her up. He sounded unperturbed at having a woman’s hand on the front of his breeches. hands on the front of his breeches.

If a stitch in time saves nine, get Help Apparel on time

I told him to watch out,' the Roach says. .... 'But would he listen? I'd have ordered him, if not for the little matter of him being the High King.' 'Cardan sent you?' I ask. 'Not exactly,' says the Roach, moving the light so that I can see the person with him, the one I elbowed. The High King of Elfhame in plain brown wool, a cloak on his back of a fabric so dark it seems to absorb light, leaf blade in the scabbard on his hip. He wears no crown on his brow, no rings on his fingers, nor gold point limning his cheekbones. He looks every inch a spy from the Court of Shadows, down to the sneaky smile pulling at a corner of his beautiful mouth. Looking at him, I feel a little light-headed from some combination of shock and disbelief. 'You shouldn't be here.' 'I said that, too,' the Roach goes on. 'Really, I miss the days when you were in charge. High Kings shouldn't be gallivanting around like common ruffians.' Cardan laughs. 'What about uncommon ruffians?' I swing my legs over the edge of the bed, and his laugh gutters out. The Roach turns his gaze to the ceiling. I am abruptly aware that I am in a nightgown Oriana lent me, one that is entirely too diaphanous.

Composing a poem and creating a fabric—whether weaving or knitting--actually have a surprising amount in common, not least a lot of terms—take the word “text” itself for example. Line? Related to linen. We spin yarns in our narrative poems. Poets spend a lot of time wool-gathering.

Losses never come alone. Like wool unraveling stitch by stitch, one loss brings another, until even the most tightly woven fabric disintegrates into a heap of frayed threads.

The outer chambers of court would be hung with tapestries made from wool alone; the middle chambers with wool and silk, and only the king’s private apartments would be decorated with tapestries woven from gold thread. This served to reinforce the strict order of precedence at court, which was also reflected by the architecture of the palaces themselves. The king’s private chapel required another suite of bespoke fabrics, such as vestments and napery.

His fingers cupped my face, cradling my cheek and jaw as if I was made of glass. I found a handful of his soft hair and wound my fingers into it, while curling my other hand into the shoulder of his leather coat. My heart hadn’t even stopped thundering from the Foul Woman’s presence. Now it was thrumming against my ribs again, too fast to count the beats. I did something I’d always secretly wanted to and bit down, very gently, on his beautiful bottom lip. Shinobu’s breath shivered into my mouth, and he pulled me closer.   I was taller now, but not tall enough. Tiptoes didn’t bring me where I wanted to be either. I jumped and hauled myself up the steel pillar of his body, wrapping one leg around his hip. The big, warm hand on my waist slid slowly down the thin fabric of my trousers to cup my thigh, supporting my weight. His other hand was clenched in my hair. A wave of almost painful excitement and yearning crashed through me, and sent me into a full-body shudder that I had no chance of hiding. A tiny moan popped from my lips straight into his.   “Mio. Oh, Mio…” His shaking voice echoed in my ears, mixing with words in Japanese. I recognized some of them. My beloved. My Mio. He pressed his mouth to my eyelid, my cheek, the edge of my jaw, the skin beneath my ear.   There was a loud tearing noise. We both froze.   Abruptly I was aware of the wall against my back, and the tremble in my thigh from hanging onto him like a demented spider monkey. I swallowed and blinked as Shinobu eased back, letting my feet drop to the pavement again. Our eyes met.   “What just…?” I asked.   He cleared his throat. “I think – my shirt.”   I looked down and saw that at some point I’d traded my grip on his hair for a handful of the T-shirt and jumper under his jacket. My fingers had gone straight through the thin wool and made a nice tear in the cotton beneath that too.   “Darn super-strength,” I muttered.   Shinobu’s lip twitched up at the corner again. I snatched my hand away from his ruined clothes and clapped it over his mouth. “No laughing at me,” I said, only half joking. “Not at a moment like this. Romance will die forever and it’ll be your fault.” He peeled my hand off and pressed a kiss to my palm. “Where are we now? What is this place?” “Um … Remnant Street, I think.”   “No. From now on it will be Paradise Street. Heaven Road. Happiness Avenue.”   “You big cheese-ball…” I muttered, putting my arms around his waist and hugging him tightly.   “What?”   “Never mind!” I grumped, then sighed. “I wish we could stay on Happiness Avenue a bit longer…”   “But we can’t,” he finished. “It is all right. I promise we will come back whenever you want.

Contrary to the impression left by toga party costumes, the toga was closer to the size of a bedroom than a bedsheet, about 20 square meters (24 square yards). Assuming 20 threads to the centimeter (about 130 to the inch), historian Mary Harlow calculates that a toga required about 40 kilometers (25 miles) of wool yarn—enough to reach from Central Park to Greenwich, Connecticut. Spinning that much yarn would take some nine hundred hours, or more than four months of labor, working eight hours a day, six days a week. Ignoring textiles, Harlow cautions, blinds classical scholars to some of the most important economic, political, and organizational challenges that ancient societies faced. Cloth isn’t just for clothes, after all. “Increasingly complex societies required more and more textiles,” she writes. The Roman army, for instance, was a mass consumer of textiles.… Building a fleet required long term planning as woven sails required large amounts of raw material and time to produce. The raw materials needed to be bred, pastured, shorn or grown, harvested, and processed before they reached the spinners. Textile production for both domestic and wider needs demanded time and planning.

The British clothier Thomas Burberry had developed a new fabric called gabardine, a chemically processed wool that could repel rain and was resistant to tears. The soldiers in the Boer War would be the first to wear jackets made from this fabric, which they called Burberrys.

Isn't that the great temptation-to play it safe? We don't bring home or use what we really love out of fear of the what-ifs. What if we ruin something we prize? What if our favorite fabric fades or a beautiful wool rug gets worn? Yes, those pretty dishes might break someday. But why live with ugly plastic dishes you don't love simply because they are supposedly indestructible? Do we really want to choose long-lasting ugliness over something we love?

Tapicers were primarily makers of tapestries, which had to be of regulation size – either 4 ells long by 2 ells wide, or 3 ells by one and a half ells, an ell being about 45 inches. They also produced ‘bankers’ – cushions to pad those hard medieval benches – and chalon, a thick fabric much used for blankets and coverlets. Tapicers, like weavers, were bound to use only ‘good wool of England and of Spain’, and never to blend the two together.

The Sleeves Off My Vest Despite much effort we do not agree, but what of this idea: I note your stare admiring this three-piece suit I wear, its subtle pinstripes and its pleasing grey;  here, feel the smoothness of the worsted wool, and look how straight and tight the seams are sewed! Peek at the matching vest, beneath my coat so close to heart, and on a heartstring pulls: I offer now, if then our deal is done, my waistcoat’s sleeves, both left and right, and made from this fine fabric over their full length – however long such sleeves may be – plus one important supplement to seal the trade, I guarantee their fit and tensile strength.

Needles—sharps, betweens, milliner’s, darners, tapestry, embroidery, beading, for all that must be pierced and adorned and joined together Pin cushion, apple-shaped, with a felt stem, to keep pins from getting lost Thimble, your mother’s, gold, on a chain, a tiny loop soldered to the top; wear it on your index finger so you won’t prick yourself, or around your neck, to remember Measuring tape, for determining shape and size, yards, inches, centimeters, the distance from here to there Thread—mercerized, nylon silk, textured, floss Fabric, swatches and yards and bolts, wool, silk, linen, net, whatever will come next, whatever will be made The pattern? Will it come from a drawer at the fabric store—McCall’s, Butterick, Simplicity, names from your childhood, the instructions in an envelope, the outcome preordained? Or will you make it up as you

It’s all right, baby, it’s over. You’re safe now. Everything’s going to be fine.” She could feel his heartbeat, his pulse racing nearly as fast as her own. She swallowed, fought back tears of relief. “Will they…will they be able to find us?” “They know where we are. They’ll send a search plane or a chopper. I’ve got flares in my emergency gear.” She nodded, pressed herself tighter against him, felt his arms tighten in return. “Call?” He eased back a little, cradled her cheek in one of his big, tanned hands. “What is it, baby?” “I think I’m going to cry but I don’t want you to think I’m a sissy.” He smoothed back her hair, looped it over her ear. “I won’t think you’re a sissy. You were great up there. Terrific. I wouldn’t want to crash my plane with anyone else.” She did start crying then and Call just held her, letting her cry against his shoulder. His wool shirt felt rough and warm beneath her cheek and the smell of smoke seeped up from the fabric. It felt good just to be standing there in the circle of his arms. She cried herself out in a couple of minutes, sniffed a little, and wiped her eyes on the tail of his shirt. “Thanks for the shoulder.” “Considering I’m the guy who got you here, it’s the least I could do.” She managed a wobbly smile. “You were great, Call. I think you saved our lives.” He shrugged, looked a little embarrassed. “I just did what I’ve been taught to do.” She didn’t argue, but she thought that under the same circumstances someone else might not have done half so good a job. And less than half wouldn’t have been nearly enough.

If geography and time are the warp and weft structuring (art) history, perceptual culture is like the pile of a velvet cloth that, without altering the warp or weft of the fabric, reenchants its texture and depth. It treats Islam as the Simurgh, and objects as its feathers. Like the galleries in China full of representations futilely and obsessively trying to reconstruct the bird from its feathers, the museum is a monument to our inability to feel what we are trying to represent. And yet like the three princes seeking the hand of the Chinese princess in the gallery of creation, we can also discover through objects the spirit we can never expect to pin down in our hands. With these hopes tucked in between the warp of evidence and the weft of interpretation, this book would like to quote a certain textile from a very long time ago: I exist for pleasure; Welcome! For pleasure am I; he who beholds me sees joy and well-being. This book offers complex more than simple pleasures: its many questions diverge and converge, offering iridescence to our certainties. It puts forth the pleasure of using thought as steel wool polishing our mental acumen, enabling perception beyond predetermined realities. It may be that a barzakh exists somewhere between the secular and the sacred, a peninsula of understanding in which we enter the cave of our ghurba and become in the world but not of it. If we tread lightly with a pure heart cleansed in the mirror of curiosity and wonder, it may just open its doors a bit and let us explore the glory it holds inside.

Yes, but…” I squeeze the wool blanket on top of me, my fingers biting into the fabric.