Event dates: 16–17 September 2017
To see the full programme, visit the conference website (link below). There will be presentations on a wide range of different topics, from ‘Textile furnishings at the English Court 1300–1470 AD’ to ‘Silk as power at the Byzantine court’ to ‘Evidence of precious cloths in the Javanese Singbasari court of King Krtanagara (1258–1292)’ and ‘Transformations of motifs on Ming court robes (14th–16th century)’.
The closing date for bookings is 31 August, so if you’re interested in attending this conference, don’t miss out.
For more information, visit the website of Lucy Cavendish College, Cambridge.
Event date: Saturday 15 July 2017
Clothing tells a multitude of human stories, each embroidered stitch contributing to the tale. The exhibition introduces the Ashmolean’s diverse textile collections through a selection of exquisitely crafted garments, expressing themes of personal identity, local tradition and international trade.
The exhibition, curated by the OATG’s chairperson, Aimée Payton, includes a selection of garments drawn from the Eastern and Western textile collections of the Ashmolean Museum, Oxford. Objects on view include a diverse range of garments from hats to shoes, stomachers to collars, dating from as far back as the 1400s right up to the twentieth century.
Location: Broadway Museum & Art Gallery, Tudor House, 65 High Street, Broadway, WR12 7DP.
Time: Meet at 2.30 pm for a 3 pm start.
Cost: Discounted entrance fee £4.
Please bring the money in cash on the day so that we can collect the entrance fee before entering the museum together as a group! We will meet in front of the main entrance.
Advanced registration is essential. Please book your place on the Eventbrite page.
Exhibition dates: 5 May – 10 September 2017
Clothing tells a multitude of human stories, with each embroidered stitch contributing to the tale. This exhibition introduces the Ashmolean’s diverse textile collections through a selection of exquisite, crafted garments, expressing themes of personal identity, local tradition and international trade.
The exhibition, curated by the OATG’s own chairperson, Aimée Payton, includes a selection of garments drawn from the Eastern and Western textile collections of the Ashmolean Museum, Oxford. Objects on view include a diverse range of garments from hats to shoes, stomachers to collars, dating from as far back as the 1400s right up to the twentieth century.
The OATG is organising two events in connection with this exhibition: one on Tuesday 13 June 2.45 pm at the Ashmolean Museum, and another on Saturday 15 July at 2.30 pm at the Broadway Museum (see the OATG events programme here).
For more information, visit the website of the Broadway Museum, Broadway, near Evesham, UK.
Exhibition dates: 14 April – 16 July 2017
Best known for her textiles, Lucienne Day (1917–2010) is recognised as a virtuoso pattern designer and colourist. Lucienne Day was also an enthusiastic gardener, and plant forms inspired many of her textile designs. This exhibition was opened as part of the nationwide Lucienne Day centenary celebrations.
The show is part of the Whitworth’s GROW project that promotes the benefits of engaging in horticultural activities to improve mental wellbeing. Groups and individuals within the local community who are experiencing social isolation or dealing with issues around mental health will work with Paula Day from the Robin and Lucienne Day Foundation to select works to display from the Whitworth’s extensive archive of Lucienne Day designs.
For more information, visit the website of the Whitworth Gallery, Manchester, UK.
Exhibition dates: 5 April – 4 September 2017
Huicholes – A People Walking Towards the Light showcases the art and lives of the Huicholes, an indigenous group from western Mexico whose history dates back 15,000 years. Featuring dazzling yarn paintings created using traditional techniques, the exhibition includes ceremonial objects, handmade textiles and photographs documenting a unique and threatened way of life.
This exhibition is on loan from Artes de México with the support of the Consulate General of Mexico and the Ministry of Foreign Affairs of Mexico, through the Mexican Agency for International Development Cooperation.
For more information, visit the website of the Textile Museum of Canada, Toronto, Canada.
Exhibition dates: 17 March – December 2017
Barbara Brown was the golden girl of Heal’s Fabrics in the 1960s and early 1970s. Talent-spotted as a student, her designs for furnishing fabrics are some of the most striking and unusual ever produced in the twentieth century and won awards from the Council of Industrial Design. This is the first major solo exhibition of her work in the UK.
For more information, visit the website of the Whitworth Art Gallery, Manchester, UK.
Exhibition dates: 22 February – 25 June 2017
Kind Words Can Never Die presents an extraordinary collection of Victorian needlework mottos stitched by anonymous women and girls in the mid to late nineteenth century. Mass produced by American wholesale companies, standardised sheets of perforated cardboard were printed with messages such as biblical quotes, song titles and popular maxims of the time that reflected the cultural and religious milieu of the North American evangelical Protestant middle class: ‘Do Right and Fear Not’; ‘What is Home Without a Mother?’; ‘Kind Words Can Never Die’. Women ordered the mottos from mail order catalogues, stitched them using a simple satin stitch and hung them in the home in specially designed motto frames.
With the rise of industrial manufacturing, men worked outside the home in growing numbers, setting established home and family structures into flux. Women increasingly took control of domestic space as consumers and moral influencers. Their decisions of which mottos to stitch and hang on the walls declared which of society’s ethical, cultural and religious edicts would guide the aesthetic and moral tone of the home. As objects of material culture, the mottos attest to the work women did to cultivate carefully chosen personal and social values in their families.
This particular collection of mottos was built by Jane Webster (1919–2009) from the mid to late twentieth century at her home in the Caribou Harbour area of Pictou, Nova Scotia. Family photos of the interior of the home taken in the 1940s show a few mottos on the wall — just enough to spark a collector’s passion in Jane, who had recently started spending time at the house. Jane purchased the mottos from farm auctions and received them as gifts, eventually amassing 173 examples that represent the vast majority of available motto texts. In Jane’s possession, the mottos were relieved of their purpose as edifying agents and re-contextualised as curious objects displayed in the spirit of generosity, welcoming and wit.
For more information, visit the website of the Textile Museum of Canada, Toronto.
Exhibition dates: 11 December 2016 – 16 July 2017
This exhibition features a rare group of eleven headdresses worn in Joli masquerades held in Sierra Leone’s capital city of Freetown in the 1970s. Joli headdresses are among the most unusual, complex and elaborate masquerade configurations we know from sub-Saharan Africa, and they reflect the blending of cultural influences and peoples in the dynamic port city of Freetown. The headdresses in this exhibition were performed to mark the end of the Muslim month of Ramadan. Crafted by Joli Society members, each headdress started with an elaborate armature made of bent and twisted wire, which was padded with polyurethane foam and then covered with textiles, brocades, velvets, netting, Christmas tinsel, fringe, lace and mirrors to create a ‘fancy’ superstructure in a recognisable shape, such as a mosque, an elephant, a biplane or the water spirit Mami Wata. Lastly, a painted wooden face mask or several face masks were attached to the structure, which was worn on top of the head of the fully dressed performer. The exhibition explains the history of Joli and the various threads of influence that led to this fantastic urban masquerade popular for only a brief period in the 1970s.
For more information, visit the website of the Fowler Museum, Los Angeles, USA.
Exhibition dates: this is an online exhibition, available to view indefinitely
The Center for Knit and Crochet (CKC), based in Wisconsin, USA, have produced a great online exhibition exploring the Scottish tradition of Sanquhar gloves.
Sanquhar gloves are a distinctive fashion accessory from the small Scottish town of the same name. Sanquhar, Scotland is located about 60 miles southwest of Edinburgh and 50 miles southeast of Glasgow. The gloves historically associated with this community are hand-knitted in fine wool yarns in two colours that emphasise the delicacy and precision of the small all-over patterns preferred by the knitters of Sanquhar.
Structure of the exhibition:
- We begin with a definition of Sanquhar gloves, including their patterns, construction and materials, showing both historical and contemporary examples.
- Next we explore the attraction of this form of knitting and discuss resources.
- Finally we admire contemporary adaptations of Sanquhar patterns in gloves, mittens and other garments.
- The exhibition concludes with a bibliography and reference materials.
To view the exhibition, visit the website of the Center for Knit and Crochet.
Exhibition dates: 15 September 2016 – 19 March 2017
The Medici family outside the frame
Impressive costumes, opulent creations, extravagant forms and strong colours. Lace, frills, trains, rosettes and flounces. A Renaissance collection – inspired by the most powerful Renaissance family, the Medicis. This collection has been entirely made of paper by the Belgian artist Isabelle de Borchgrave. Now her most extravagant collection is being presented in the Royal Armoury Museum, Stockholm, in the Royal Palace, for the first time in Scandinavia.
The paper costumes give an impression of the splendour of the Florentine Renaissance court. Because the original outfits have not survived to the present day, Isabelle de Borchgrave has based her pieces on portraits and other works of art. She creates what we don’t see in the portraits: the lower parts of the dresses and shoes, the backs of the dresses and the fantastic hairstyles.
Twenty-eight life-sized hand-painted paper costumes on dummies convey the opulence of the Florentine Renaissance court. They also give an insight into what the Swedish Renaissance court may have looked like during the Vasa period. Isabelle de Borchgrave’s magnificent creations bring a royal world to life in paper.
With inspiration from historical objects and paintings, Isabelle de Borchgrave has created accessories in paper, specially produced for the Royal Armoury’s exhibition. Isabelle de Borchgrave is an artist and sculptor. She is best known for her colourful paintings and advanced paper installations – life-sized costumes. She is represented in a number of museums across the world. Isabelle de Borchgrave has also worked as a designer, creating dress details for fashion designer John Galliano when he was head designer for the Christian Dior fashion house.
For more information, visit the website of the Royal Armoury Museum, Stockholm, Sweden.