Lotus Slippers

If You Want to be Beautiful, You Must Suffer –French saying

For centuries every culture supported customs that were considered indicative of social status, power and/or physical beauty.  Many of these customs were achieved with a certain amount of discomfort , many with considerable pain. Scarification (small, superficial incisions creating patterns of scars on the skin), tattoos, piercings and the use of toxic cosmetics are commonly noted.

  One of the most excessive of these practices was the breaking and binding of the feet of young girls in China.  Foot- binding began as early as 900, remaining the custom of royalty and rich nobility until the end of the 17thC.  From that time until the practice was officially banned by the 1911 revolutionary government, millions of young girls from every socioeconomic background were subjected to excruciating pain and permanent deformity.  Not all Chinese practiced this custom (the Manchu did not practice this, the Han did).   The daughters of poor farmers were important laborers and were spared (if you cannot walk, you cannot toil).

The actual binding began when a girl reached the age of 4-7 years, when her bones were still flexible.  The feet were soaked in solutions containing various herbs and other ingredients according to secret family recipes. The four small toes were bound against the sole of the foot after breaking of the arch of the foot, while the big toe was left exposed.  Strips of cotton cloth were used to tightly bind the feet.  The child would then have to don a tiny pair of shoes (usually made by her mother).  The bindings were changed at regular intervals, more tightly wound each time, the shoes becoming smaller and smaller.  The practitioners of foot-binding might have been the female relatives of the child, or a professional might be employed.  It would take two years for the feet to be shaped into an unopened lotus flower bud.  In realty the foot did not so much resemble a flower but a misshapen mass of crushed bones.

Foot-binding left the women  virtual captives in their house, frequently they could only walk with very short, mincing steps, and needed to be carried or transported by carriage or cart when outside.  Obviously, male dominance was one factor, but not the only one.  Small, bound feet ( as small as 3 inches) were considered symbols of beauty, family status, mariageablilty and duty.  

Splendid Slippers- A Thousand Years of an Exotic Tradition, Beverly Jackson, 
Ten speed Press, Berkeley, California, 1997











To cover their deformity, girls and women made exquisite miniature shoes of the richest material they could afford.  Tradition patterns and symbols were embroidered with silken threads.  Even the soles were often patterned as they would show very little wear. These slippers have great aesthetic qualities and showcase great talents of the girls for embellishment.  However, they also represent the great pain and life-long deformity associated with this practice.

Stumpwork - Seventeenth Century Raised Embroidery

Raised Embroidery

Often I am asked if I have a favorite textile.  This is like asking a mom which is her favorite child.  Each is unique, each has positive (and negative attributes), each brings a different aesthetic.  Asked if I have a favorite textile technique, the answer is immediate.  I have always favored embroidery.  I admit to having tried (with varying degrees of success) sewing clothes and home goods, rug braiding and hooking, quilting, crochet and knitting.  I have even dabbled in paper-making and basket weaving, which I consider to be cousins of textiles on the textile family tree.  But after many, many years of working with all forms of textiles and their production I am still drawn to the art of embroidery.

It is not that I am particularly adept at embroidery techniques.  I love the portability, being able to take with me small pieces of work when I travel.  But I especially love the  richness  of the finished product, the variety of the stitches, the assortment of fibers, and the ability of the textile artists to create their own unique works of  art.

My textile library is filled with editions of embroidery history, technique,  ethnic and contemporary.  Also, of course, are the many volumes of examples and instructions waiting for me to stitch.

The Embroiderer's Flowers,

 Thomasina Beck, David and Charles, 1992

The Embroiderer's Garden, 

 Thomasina Beck, David and Charles

Like all trends and pastimes, embroidery has seen a roller coaster history.  While never being completely absent, there are periods in which embroidery was considered an important textile art form, only to give way to other techniques.  One case in point is the needlework commonly called “Stump Work”.  I consider this to be a rather unfortunate title.  Originally, this type of embroidery was called “Raised Work” or “Embosted Work”  It was in Victorian times that the term stumpwork was used. Perhaps it pertained to the use of wooden stumps or moulds which, when padded offered an element in relief, or it could have come from the printed designs, stamped on the ground fabric.  The French word “estompe” means embossed, and is a likely contender.

When speaking of the history of raised work, it is a short one.  It reached the height of its popularity between 1640 through 1680.  There are earlier samples worked by professional embroiderers (Brioders) with three dimensional design elements.

 The themes for these works were often stories from the Old Testament or depictions of court life.  The main pattern was often the work of a professional designer.  There were even kits available.  One of the most delightful features of these embroideries was the inclusion of various forms of flora and fauna, realistic, as well as fanciful.  These lesser elements were usually not to scale.  Therefore a pea pod might be as large as a rabbit.  Patterns were available in collections printed for embroiderers.  Relief elements, in addition to the wooden forms for bodies and facial features, were made from wrapped wire, beads and other embellishments. Some motifs were directed embroidered onto the ground fabric in a variety of stitches while other were created separately as “slips” and later added to the scene.

A Book of Flowers, Fruits, Beasts, Birds and Flies -

 Seventeenth-Century Patterns for Embroiderers, Curious Works Press, 1995

The Complete Book of Stumpwork Embroidery, Jane Nicholas,

Sally Milner Pub., 

Boward NSW, Australia, 2005

Raised Embroidery- a Practical Guide of Decorative Stumpwork,

 Barbara and Roy Hirst, Merchurst LTD, 1993

Hand Embroidered Country Scenes, Sue Newhouse,

Search Press, 1997

My next project might well be a small stumpwork, perhaps the view of my patio and the grape vines  growing across the portal.  Maybe not.

Paisley - The Teardrop of India - Part 2- Paisley Shawls

Paisley- The Teardrop of India     Part 2

The Paisley Shawl

In my blog of 6/28/15 I discussed the Paisley motif.  The most common association with this Indian motif is the Paisley Shawl, a much sought-after fashion accessory of the 18^th and 19^th Centuries. Although the term “shawl” today refers to a rectangular or square of cloth worn as a wrap around the shoulders or head, the word is derived from “shal”, Persian for any finely woven cloth.

For centuries the finest woven shawls came from Kasmiri, north of India in the Himalayas.  The wool fibers, which we refer to as “cashmere” are more correctly called “pashmina” and come from the underbelly of mountain goats. Indian  shawls were always handwoven in 2/2 twill tapestry weave on a horizontal loom, the technique known as “kanikar ". Colored wefts were inserted with small bobbins and, as in true tapestry weave, they did not extend from selvage to selvage but were confined to the actual pattern.   European woven shawls used a continuous supplementary weft which floated over the reverse. Produced as early as the 15^th C Kasmiri shawls were introduced into the European market near the end of the 1700’s, however, they were extremely scarce and extremely expensive.

Because of their popularity despite the cost, European textile manufacturers began to produce what were called “imitation Indians”.  As it was not possible to import the fine pashmina wool  ( their experiments with raising the actual mountain goats in Europe, a failure) they firstly wove the shawls in silk at  Spitalfields using copies of the original Indian patterns.  Other cities such as Edinburugh and Norwich soon followed.  But it was  Paisley, Scotland that lent its name to this textile.  Because Paisley was a center for dyeing, printing and fringing, as well as weaving it soon became the major producer of the imitation Indian shawl.

However, it was the French textile industry that had the most impact on the shawl production as well as other fabrics of intricate woven designs.  In 1801, Joseph-Marie Jacquard developed a weaving loom, replacing the draw-loom.  In short order the British began weaving copies of the French imitations. 

Another Kasmiri technique, amlikar, used embroidered motifs after weaving the plain ground fabric.  Because several artisans could embroider simultainously, the time to produce the textile was significantly shortened and the resultant cost to produce was much less. These embroidered shawls were so finely made that they are often confused with the woven ones

Woven shawls were replaced with printed ones.  By the 19^th C shawls were block printed on cotton or silk precisely imitating the original designs.  By the end of the 19^th C roller printing replaced block printing and lengths of paisley motif fabrics were produced.

The actual paisley design and shape of the shawls, as well as the palette, varied with the lady’s fashion of the day.  Identification and dating of these textiles depends upon the following criteria:  

                               1. distribution of the design

                               2. density of the pattern

                               3. repeat of the pattern

                               4. symmetry

                               5. contrast between the ground and design

                               6. shape and finished size of the textile

Section of a woven wool shawl.  Note the black background which formed a very large square in the center of the textile.

Reverse

Main Boteh motif.  Colors include red, black, blue, green and ochre

Green selvage edge

Fringe edge of shawl.  The fine black fringe is entirely missing in this section.

Woven paisley shawls may still be found, however, if they are in good condition they are pricey.  You may find these textiles in varying conditions and, depending upon the intended use, they may be repaired for table covers or sections may be salvaged for use as applique elements.  Printed paisley is more affordable.

July 4

Happy Birthday to us

This holiday evokes fond memories for most Americans.  I grew up in a small town and on July 4 the town sponsored a parade featuring (usually in this order) the high school band in uniform, Boy and Girl Scouts in uniform, veterans in various uniforms of their branch of service, old men driving old vintage cars, and children of all ages on bicycles decorated with crepe paper and flags.  This procession would wind around the streets before finally stopping at the town cemetery.  At this point a senior from the high school would read the Declaration of Independence, then came the Pledge of Allegiance.  After all this celebration everyone would head home to prepare their  4^th picnics

Here, in Santa Fe the day begins with Pancakes on the Plaza with patriotic songs rendered by the Community Concert Band.  Thousands of Santa Feans (and tourists) walk through downtown with small flags visiting craft vendors and inspecting the vintage cars display.  Then everyone heads for home to light up their BBQs.  I might suggest someone reads aloud from such papers as the Preamble of the Constitution or the Emancipation Proclamation.  Very powerful words we might reflect upon.

The textile du jour for this day is, of course, our flag.  It is seen everywhere in sizes from miniature to the huge one flying over used car lots and fast food restaurants.  They are seen on tee shirts and ball caps, on napkins and paper picnic ware.  There are other textiles created to honor our history.  Some are sentimental, some are political, some bring a smile and some not so much.

This textile is a panel measuring 43x23 inches depicting George Washington crossing the Delaware.  The colors are startling with vivid reds, blues and gold. The fabric is textured reminiscent of “bark cloth” (the fabric your grandma used to cover her patio furniture or perhaps used a draperies). This was produced by the Reliable Textile Company of NY under the trademark Wesco-Relex . Other subjects for similar textiles were patriotic motifs such as the bald eagle and, in a quite different vein, depictions of puppies and other cute animals. Supposedly, these panels were meant to be hung as panels or framed. What in the world could they have been thinking? Which brings me to a dilemma.  What in the world am I going to do with it?  Would you believe I have two Geo.W, and  friends panels.  Well, back to the bottom of my collection, I guess. Maybe someone might want to add them to their collection of patriotic memorabilia, hmmm?

 

Happy Birthday America

Happy Birthday to us                                                                                        

Paisley- The Tear-drop of India

Paisley – The Motif

An easily recognized motif, Paisley, is one of many variations.  The name “Paisley” is associated with the Scottish city where woven Paisley shawls were manufactured to replace the costly Indian cashmere shawls, which were imported for the very wealthy European market.  However, the motif originated in India as “Butah “ (Buteh) the Hindu word, meaning flower.

The French called the design “palmette”, the English knew it as “flame and spearhead pine”.

The motif, whether an elaborate teardrop design or a plant form with leaves and stem or a pinecone and medallion form, has been adapted for centuries for use in art and textiles. The design is marked by an absence of dimension and can be found as a simple , singular form or as an allover, elaborate design depending upon the requirement of the finished textile.

Costumes, Textiles and Fabric Swatch Books, Sothebey's, London

Auction catalog, Lots 1-254, Thursday 24 September 1988

               Paisley Textile Patterns -18thCentury Europe,

                         Kyoto Shoin Co.Ltd, 1998

A related design element is known as a “Buti” which is Hindu for “small flower”.  It is a small motif, which may be abstracted, and is used as a filler pattern, small in scale and repetitive. An example of Buti patterns can be found in delicate Foulard textiles.  Originally woven in silk for men’s ties and fine handkerchiefs, they now can be found in acetate and manufactured fabrics.

Of course, the most common association of the paisley pattern and textiles is the historic fashion accessory, the Paisley Shawl, which we shall explore in an upcoming blog.

The Magic Blue

Indigo

What aesthetic elements are essential in the creation of fabulous textiles?  Pattern, Texture, Color.  Without these elements cloth would be merely utilitarian.

In my blog “The Red That Colored the World”, June 7, 2015 I told of an exhibition currently at the Museum of International Folk Art featuring textiles dyed with cochineal.  Today, the topic is indigo and an exhibition at the Museum of Spanish Colonial Art, entitled “Blue on Blue: Indigo and Cobalt in New Spain”.

                              Japanese indigo-dyed fabric

The earliest records of indigo dyeing (more that 4,000 years ago) came from India, hence the word “indicum” which is Latin for India.  The main constituent of indigo is indigotin, which is prepared from the leaves of various species of Indigofera.  For thousands of years the secret of indigo dyeing remained within India and the far east.  In the 13^th and 14^th C Italian merchants procured indigo from Muslim lands around the Mediterranean.  It was Venice that first promoted the use of this dye-stuff.  However, France and Germany relied on woad, which was produced by their farmers.  Calling indigo the “Devil’s dye” or Devil’s drug they banned the use of indigo by official decrees.  Since woad was not produced in England and Holland the dyers of these countries embraced the dye.  The attributes of indigo, (non-fugative , and 30 times more potent than woad) far outweighed the problems encountered with its production.

100 pounds of plant material is required to produce a 4 ounce cake of indigotin.  The dye cake does not dissolve in water but must be prepared in an alkaline bath.  At this stage the bath has very little blue color and the fabric dyed in this bath is a pale yellow-green.  It is only when the fabric is exposed to air that the indigotin is oxidized.

Natural indigo is still used for dyeing traditional textiles in Japan, Africa and other countries and is experiencing a resurgance in popularity among dyers using traditional, natural dye ingredients and techniques.  More than 20,000,000 pounds of synthetic indigo are produced annually throughout the world.  

The exhibition at the Museum of Spanish Colonial Art came as a result of excavations made at the Cathedral of St. Francis in the 1950s.  The sarcophagus containing the bones of two Franciscan friars was uncovered, and when opened revealed not only the skeletons of the friars but their blue robes.  This was an important find as the habits of Franciscan friars were brown or the natural gray of the woven wool.  They were actually called “gray-robed friars”.  This example of the use of indigo ( brought up the Camino Real from Mexico and Central America) to dye fabric in the colonial period of New Mexico led to the  further study of the use of indigo in textiles, pottery, paintings and sculpture.  

The Museum of Spanish Colonial Art is located on Museum Hill, Santa Fe, NM.  spanishcolonial.org

Off-The-Rack Meets Custom-Made

Off the Rack or Custom Tailored?

Originally, all clothing was “custom” made.  Made in the household, altered to be passed down from child to child.  Centuries later, clothing was still custom made by professional dressmakers and tailors.  Today, custom clothing can still be made by tailors and dressmakers for special occasions.  Suits for gentlemen can be fitted is a couple of days, especially for travelers in foreign countries.  Normally, these garments are priced higher than suits and dresses purchased in shops and department stores, that is clothing “off the rack”. 

When the industrial revolution introduced machinery and the factory system the clothing trade was changed forever.  While custom made clothing remained  for those who could afford it, the  working classes could purchase clothing adapted and styled to be made by the thousands of garments shipped to catalog houses and department stores.  Standardized sizes replaced exact body measurements and if one could not find garments in a favorite color or style, one only had to wait a season, and, sure enough, blue was in every store window and hem-lines shifted.  Designers offered two lines: couture and off the rack.

Fine tailoring shops can be found in nearly every large city.  When seeing the sights in Vienna this past spring I encountered a small shop selling tailored made shirts.  What caught my eye was their window display of a shirt pattern and an assortment of optional collars. Within the shop were shelves of beautiful fabrics in pinstripes, checks and pastel solids. The price seemed a bit steep, over 300 Euros.

                   Shop window display of a custom shirt pattern.

                           (forgive the window glare)

                         Shop display of optional collars.

Then when I returned home I found an article in one of my favorite fashion sources, The Wall Street Journal.  In the Style and Fashion section, Saturday/Sunday, May 30-31, 2015 I read an article, ”The Shirt of the Summer ” featuring collarless dress shirts. The prices for these mass produced shirts ranged from $195 - $425.  I see now that off- the- rack is approaching the league of custom-made.