Disruptive Threads and Renegade Yarns: Domestic Textile Making in Selected Women's Writing 1811-1925

Images of domestic textiles (items made at home for consumption within the household) and textile making form an important subtext to women’s writing, both during and after industrialization. Through a close reading of five novels from the period 1811-1925, this thesis will assert that a detailed understanding of textile work and its place in women’s daily lives is critical to a deeper understanding of social, sexual and political issues from a woman’s perspective. The first chapter will explore the history of the relationship between women and domestic textile making, and the changes wrought to the latter by the Industrial Revolution. The second chapter will examine the role of embroidery in the construction of “appropriate” feminine gentility in Jane Austen’s Mansfield Park (1814). The third chapter, on Elizabeth Gaskell’s Cranford (1853), will explore how the older female body became a repository for anxieties about class mobility and female power at the beginning of the Victorian era. The fourth chapter will compare Sara Jeannette Duncan’s A Social Departure (1890) and Kate Chopin’s The Awakening (1899) to consider how later Victorian women both internalized and refuted public narratives of domestic textile making in a quest for “self-ownership.” The last chapter, on Martha Ostenso’s Wild Geese (1925), examines the corrosive, yet ultimately redemptive, relationships of a family of women trapped by abuse and degradation. For all five authors, images of textiles and textile making allow them to speak to issues that were usually only discussed within a community of women: sexuality, desire, aging, marriage, and motherhood. In all five works, textile making “talks back” to the power structures that marginalize women, and lends insight into the material and emotional circumstances of women’s lives.

Endverbindungen für dynamisch belastete textile Zugmittel

Hochfeste Faserseile sind aufgrund ihrer hohen spezifischen Festigkeit prädestiniert für dynamische Anwendungen in der Fördertechnik. Der Kenntnisstand über die Zeitfestigkeit zugehöriger Endverbindungen zur Krafteinleitung ist jedoch unzureichend. Gegenstand der vorgelegten Arbeit ist die Entwicklung einer für die Anwendung von hochfesten Faserseilen geeigneten Prüfvorschrift sowie die vergleichende Untersuchung bekannter Endverbindungen für hochfeste Faserseile im Zugschwellversuch.

Exploring Perceptual Matters: A Textile-Based Approach

This research takes a practice-based approach to exploring perceptual matters that often go unnoticed in the context of everyday lived experience. My approach focuses on the experiential possibilities of knowledge emerging through artistic enquiry, and uses a variety of modes (like textiles, sound, physical computing, programming, video and text) to be conducted and communicated. It examines scholarship in line with the ecological theory of perception, and is particularly informed by neurobiological research on sensory integration as well as by cultural theories that examine the role of sensory appreciation in perception. Different processes contributing to our perceptual experience are examined through the development of a touch-sensitive, sound-generating rug and its application in an experimental context. Participants’ interaction with the rug and its sonic output allows an insight into how they make sense of multisensory information via observation of how they physically respond to it. In creating possibilities for observing the two ends of the perceptual process (sensory input and behavioural output), the rug provides a platform for the study of what is intangible to the observer (perceptual activity) through what can actually be observed (physical activity). My analysis focuses on video recordings of the experimental process and data reports obtained from the software used for the sound generating performance of the rug. Its findings suggest that attentional focus, active exploration, and past experience actively affect the ability to integrate multisensory information and are crucial parameters for the formation of a meaningful percept upon which to act. Although relational to the set experimental conditions and the specificities of the experimental group, these findings are in resonance with current cross-disciplinary discourse on perception, and indicate that art research can be incorporated into the wider arena of neurophysiological and behavioural research to expand its span of resources and methods.

Patrimoine textile malgache: cas du lambahoany tissé par la cotona d' antsirabe

Le lambahoany est un pagne tissé par une société textile malgache telle que la Cotona d’ Antsirabe. D’ailleurs, il enveloppe le peuple malgache depuis son existence, les hommes comme les femmes, puis les vivants comme les morts. C’est ainsi que le lambahoany occupe une importante place dans la communauté malgache, non seulement comme un panneau de transmission des messages spécifiques mais également pour son rôle au système éducatif social au même titre que les arts virtuels développés aux écoles des arts. Ensuite, il est aussi nécessaire pour sensibiliser des personnes à travers d’un sujet donné. C’est en ce sens qu’il n’est plus un simple pagne mais il s’agit d’un objet patrimonial qui permet d’identifier les malgaches. Alors, leur préservation et leur valorisation se confirme primordial. D’où, la valorisation du lambahoany et sa pérennisation pour les générations futures constituent les principaux objectifs de cette étude; ABSTRACT: The Lambahoany is woven loin cloth by Malagasy textile companies like Cotona Antsirabe. Moreover, it wraps the Malagasy people since its existence, men and women, and the living and the dead. Thus the Lambahoany occupies an important place in the Malagasy community, not only as a sign of transmission of specific messages but also for its role in social education system as well as virtual arts developed schools of the arts. Then it is also necessary to educate people through a given topic. It is in this sense that it is no longer a simple loincloth, but it is a heritage object that identifies the Malagasy. So, their preservation and enhancement confirms paramount. Hence, the enhancement of Lambahoany and its sustainability for future generations are the main objectives of this study.

Notes in regard to some textile plants of Brazil, at the International exhibition in Philadelphia in 1876,

Mode of access: Internet.

Influência das espécies do plasma de N2 + O2 nas propriedades físicoquímicas das superfícies do pet

This work reports the influence of the poly (ethylene terephthalate) textile and films surface modification by plasmas of O2 and mixtures (N2 + O2), on their physical and chemical properties. The plasma surface polymeric modification has been used for many researchs, because it does not affect the environment with toxic agents, the alterations remains only at nanometric layers and this technique shows expressive results. Then, due to its good acceptance, the treatment was carried out in a vacuum chamber. Some parameters remained constant during all treatment, such as: Voltage 470 V; Pressure 1,250 Mbar; Current: 0, 10 A and gas flow: 10 cm3/min, using oxygen plasma alternating the treatment time 10 to 60 min with an increase of 10 min to each subsequent treatment. Also, the samples were treated with a gas mixture (nitrogen + oxygen) which was varied only the gas composition from 0 to 100% leaving the treatment time remaining constant to all treatment (10 min). The plasma treatment was characterized in-situ with Optics Emission Spectroscopy (OES), and the samples was characterized by contact angle, surface tension, Through Capillary tests, Raman spectroscopy, Infrared attenuated total reflection (IR-ATR) and atomic force microscopy, scanning electronic Microscopy (SEM) and X-ray Photoelectron Spectroscopy (XPS). The results showed that oxygen treated fabrics presented high wettability, due to the hydrophilic groups incorporation onto the surface formed through spputering of carbon atoms. For the nitrogen atmosphere, there is the a film deposition of amine groups. Treatment with small oxygen concentration in the mixture with nitrogen has a higher spputered species of the samples

Disruptive Threads and Renegade Yarns: Domestic Textile Making in Selected Women's Writing 1811-1925

Thesis (Ph.D, English) -- Queen's University, 2016-08-03 13:57:45.102

Tensions, transisitions and triumphs : examining the transitional experience of fashion students between school and university

Joining any new community involves transition and adaptation. Just as we learn to adapt to different cultures when we choose to live abroad, so students learn the language and culture of an academic community in order to succeed within that environment. At the same time however, students bring with them individual learning styles and expectations, influenced by their prior experiences of learning and of life more generally. Some have excelled at school; others have come to fashion seeking something in which to excel for the first time. Commencing a degree in fashion design brings students into contact with peers and lecturers who share their passion, providing them with a community of practice which can be both supportive and at the same time intimidating.----- In Queensland where university level study in fashion is such a new phenomenon, few applicants have any depth of training in design when they apply to study fashion. Unlike disciplines such as Dance or Visual Art, where lecturers can expect a good level of skill upon entry to a degree program, we have to look for the potential evidenced in an applicant’s portfolio, much of which is untutored work that they have generated themselves in preparation for application. This means that many first year fashion students at QUT whilst very passionate about the idea of fashion design are often very naïve about the practice of fashion design, with limited knowledge of the history or cultural context of fashion and few of the technical skills needed to translate their ideas into three dimensional products.----- For teachers engaging with first year students in the design studios, it is critical to be cognizant of this mix of different experiences, expectations and emotions in order to design curricula and assessment that stretch and engage students without unduly increasing their sense of frustration and anxiety. This paper examines a first year project designed to provide an introduction to design process and to learning within a creative discipline. The lessons learnt provide a valuable and transferable resource for lecturers in a variety of art and design disciplines.

Neo-Dandy

Neo-Dandy was a practice-led research project that explored histories of a quintessential men’s and womenswear garment from across the ages — the formal white dress shirt. The aim was to generate a body of radically new mens’ shirts that, whilst incorporating characteristics normally associated with womenswear, would remain acceptable to male wearers. A detailed study identified a broad spectrum of historical design approaches, ranging from the orthodox man’s shirt to the many variations of the women’s blouse. Within this spectrum a threshold was discovered where the men’s shirt morphed into the woman’s blouse — a ‘design moment’ that appeared to typify the dandy figure (a fashion character who subversively confronts dress norms of their day). The research analysed thousands of archive catwalk images from leading contemporary menswear designers, and of these, only a small number tampered appreciably with the men’s white dress shirt — suggesting a new realm of possibility for fashion design innovation. This led to the creation of a new body of work labelled ‘Neo-Dandy’. Sixty ‘concept shirts’ were produced, with differing styles and varying degrees of detailing, that fitted the brief of being acceptable to male wearers, eminently ‘wearable’ and on a threshold position between menswear and womenswear. These designs were each tested, documented, and assessed in their capacity to evolve the Neo-Dandy aesthetic. Based on these outcomes, a list of key design principles for achieving this aesthetic was identified to assist designers in further evolving this style. The creative work achieved substantial public acclaim with the ‘Neo Dandy Collection’ winning a prestigious Design Institute of Australia Award (Lifestyle category) and being one of four finalists in the prestigious overall field for design excellence. It was subsequently curated into three major Brisbane exhibitions — the ARC Biennial, at Artisan Gallery and the industry leader, the Mercedes Benz Fashion Festival. The collection was also exhibited at the Queensland Art Gallery.

Neo-Dandy

Neo-Dandy was a practice-led research project that explored histories of a quintessential men’s and womenswear garment from across the ages — the formal white dress shirt. The aim was to generate a body of radically new mens’ shirts that incorporated characteristics normally associated with womenswear, whist remaining acceptable to male wearers. A detailed study identified a broad spectrum of historical design approaches, ranging from the orthodox man’s shirt to the many variations of the women’s blouse. Within this spectrum a threshold was discovered where the men’s shirt morphed into the woman’s blouse — a ‘design moment’ that appeared to typify the dandy figure (a fashion character who subversively confronts dress norms of their day). The research analysed thousands of archive catwalk images from leading contemporary menswear designers, and of these, only a small number tampered appreciably with the men’s white dress shirt — suggesting a new realm of possibility for fashion design innovation. This led to the creation of a new body of work labelled ‘Neo-Dandy’. Sixty ‘concept shirts’ were produced, with differing styles and varying degrees of detailing, that fitted the brief of being acceptable to male wearers, eminently ‘wearable’ and on a threshold position between menswear and womenswear. These designs were each tested, documented, and assessed in their capacity to evolve the Neo-Dandy aesthetic. Based on these outcomes, a list of key design principles for achieving this aesthetic was identified to assist designers in further evolving this style. The creative work achieved substantial public acclaim with the ‘Neo Dandy Collection’ winning a prestigious Design Institute of Australia Award (Lifestyle category) and being one of four finalists in the prestigious overall field for design excellence. It was subsequently curated into three major Brisbane exhibitions — the ARC Biennial, at Artisan Gallery and the industry leader, the Mercedes Benz Fashion Festival. The collection was also exhibited at the Queensland Art Gallery.

Fashion manufacturing in New Zealand : can design contribute to a sustainable fashion Industry?

In the late 1990s New Zealand fashion gained some international recognition for its dark edginess and intellectual connection due to its colonial past (Molloy, 2004). In the years since, this momentum seems to have dissipated as local fashion companies have followed a global trend towards inexpensive off shore manufacturing. The transfer of the making of garments to overseas workers appears to have resulted in a local fashion scene where many garments look the same in style, colour, cut and fit. The excitement of the past, where the majority of fashion designers established their own individuality through the cut and shape of the garments that they produced, may have been inadvertently lost. Consequently a sustainable New Zealand fashion and manufacturing industry, with design integrity, seems further out of reach. The first question posed by this research project is, ‘can the design and manufacture of a fashion garment, bearing in mind certain economic and practical restrictions at its inception, result in the development of a distinctive ‘look’ or ‘handwriting’?’ Second, through development of a collection of prototypes, can potential garments be created to be sustainably manufactured in New Zealand?

On Gloves

This article explores the historical symbolic meanings of gloves.