Textile History

Bestselling author Victoria Finlay spins us round the globe, weaving stories of our relationship with cloth and asking how and why people through the ages have made it, worn it, invented it and made symbols out of it. And sometimes why they have fought for it. She beats the inner bark of trees into cloth in Papua New Guinea, fails to handspin cotton in Guatemala, visits tweed weavers at their homes in Harris, and has lessons in patchwork-making in Gee's Bend, Alabama—where in the 1930s, deprived of almost everything they owned, a community of women turned quilting into an art form.

The story of humanity is the story of textiles - as old as civilization itself. Since the first thread was spun, the need for textiles has driven technology, business, politics, and culture. In The Fabric of Civilization, Virginia Postrel synthesizes groundbreaking research from archaeology, economics, and science to reveal a surprising history. From Minoans exporting wool colored with precious purple dye to Egypt, to Romans arrayed in costly Chinese silk, the cloth trade paved the crossroads of the ancient world.

At her execution Mary, Queen of Scots wore red. Widely known as the colour of strength and passion, it was in fact worn by Mary as the Catholic symbol of martyrdom. In 16th-century Europe, women's voices were suppressed and silenced. Even for a queen like Mary, her prime duty was to bear sons. In an age when textiles expressed power, Mary exploited them to emphasise her female agency.

Twenty thousand years ago, women were making and wearing the first clothing created from spun fibers. In fact, right up to the Industrial Revolution the fiber arts were an enormous economic force, belonging primarily to women. Despite the great toil required in making cloth and clothing, most books on ancient history and economics have no information on them. Much of this gap results from the extreme perishability of what women produced, but it seems clear that until now descriptions of prehistoric and early historic cultures have omitted virtually half the picture.

In a gorgeous history that spans continents and millennia, Aarathi Prasad weaves together the complex story of the queen of fabrics. Through the scientists who have studied silk, and the biology of the animals from which it has been drawn, Prasad explores the global history, natural history, and future of a unique material that has fascinated the world for millennia.

A personal, expert look at iconic beauty products of the past, present and future from Britain's best and most trusted beauty writer. New beauty products are launched every day, but which ones really do the job, underneath all of the packaging? And which long-standing classics deserve to be dusted off before they are forgotten in amongst all the new trends?

We may not often think of our clothes as having a function beyond covering our naked bodies and keeping us a little safer from the elements. But to discount the enormous influence of clothing on anything from economic cycles to the future of water scarcity is to ignore the greater meaning of the garments we put on our backs. Disrobed vividly considers the role that clothing plays in everything from natural disasters to climate change to terrorism to geopolitics to agribusiness.

In 1838, a young woman was given a diary on her wedding day. Collecting snippets of fabric from a range of garments she carefully annotated each one, creating a unique record of her life and times. Her name was Mrs Anne Sykes. Nearly two hundred years later, the diary fell into the hands of Kate Strasdin, a fashion historian and museum curator. Strasdin spent the next six years unravelling the secrets contained within the album's pages. Piece by piece, she charts Anne's journey from the mills of Lancashire to the port of Singapore before tracing her return to England in later years.

With his now-legendary store on 125th Street in Harlem, Dapper Dan pioneered high-end streetwear in the 1980s, remixing classic luxury-brand logos into his own innovative, glamorous designs. But before he reinvented haute couture, he was a hungry boy with holes in his shoes, a teen who daringly gambled drug dealers out of their money, and a young man in a prison cell who found nourishment in books. In this remarkable memoir, he tells his full story for the first time.

Claire Wilcox has been a curator of fashion at the Victoria and Albert Museum for most of her working life. In Patch Work, she steps into the archive of memory, deftly stitching together her dedicated study of fashion with the story of her own life lived in and through clothes. From her mother's black wedding suit to the swirling patterns of her own silk kimono, her memoir unfolds in spare, luminous prose the spellbinding power of the things we wear.

Joséphine Bonaparte, future Empress of France; Térézia Tallien, the most beautiful woman in Europe; and Juliette Récamier, muse of intellectuals, had nothing left to lose. After surviving incarceration and forced incestuous marriage during the worst violence of the French Revolution of 1789, they dared sartorial revolt.

Brimming with rich, electrifying tales of the precious dye and its ancient heritage, Indigo is also the story of a personal quest: Catherine McKinley is the descendant of a clan of Scots who wore indigo tartan; Jewish "rag traders"; a Massachusetts textile factory owner; and African slaves - her ancestors were traded along the same Saharan routes as indigo, where a length of blue cotton could purchase human life.

When Neil Armstrong and Buzz Aldrin stepped onto the lunar surface in July of 1969, they wore spacesuits made by Playtex: 21 layers of fabric, each with a distinct yet interrelated function, custom-sewn for them by seamstresses whose usual work was fashioning bras and girdles. This book is the story of that spacesuit. It is a story of the triumph over the military-industrial complex by the International Latex Corporation, best known by its consumer brand of "Playtex" - a victory of elegant softness over engineered hardness, of adaptation over cybernetics.

Vogue magazine started, like so many great things do, in the spare room of someone's house. But unlike other such makeshift projects that flare up then fizzle away, Vogue burnt itself into our cultural consciousness. Today, 125 years later, Vogue spans 22 countries, has an international print readership upwards of 12 million and nets over 67 million monthly online users. Uncontested market leader for a century, it is one of the most recognisable brands in the world and a multi-million dollar money-making machine. It is not just a fashion magazine, it is the establishment.

Fashion Climbing is the story of a young man striving to be the person he was born to be: a true original. Contained inside this audiobook is an education in style, an effervescent tale of a bohemian world as it once was, and a final gift to the fans of one of New York's great characters.

Нескучное исследование о том, как проявлялся индивидуализм в стране с тоталитарным режимом и дефицитом модных вещей. Новая книга Миши Бастера о разнообразии субкультурных практик в стиле панк, проливающая свет на малоизученные социологами истории проявлений индивидуализма в стране с тоталитарным режимом и дефицитом модных вещей. Истории от анархистов XIX века до альтернативной молодежной культуры конца ХХ века, известной публике по безудержным экспериментам в музыке, моде и искусстве. Миша Бастер – художник- дизайнер, в 1980-х – участник творческого андеграунда.

Organized by region, with one chapter devoted to Paris, Made in France takes you on a complete tour of the dazzling, artisanal legacy of France, uncovering off-the-beaten-path destinations and one-of-a-kind, hidden workshops, where everything from lingerie to chocolate is turned out completely by hand, piece by piece.