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The library is named after the Museum of Costume Art's co-founder Irene Lewisohn. In 1960, as a part of a major renovation of The Costume Institute, the library was named in her honor. [2] By 1983, it was reported that the library was used by the staff and more than 1800 researches each year. [4]
A small sample, usually taken from existing fabric, is called a swatch, whilst a larger sample, made as a trial to test print production methods, is called a strike off. For plain-dyed fabrics it is called a lab-dip , and for yarn-dyed fabrics (like stripes and checks), it is called a handloom .
Her clothing materials were often praised in American Fabrics, a popular magazine founded in 1949 which featured samples of various fabrics. [15] In addition to her own line, Schnurer also designed fabrics for ABC fabrics during the early 1950s. [3] Examples of her textiles can be found in the Metropolitan Museum of Art's collection: Textile 1 ...
Susan established a broad repertoire of fabric art skills over four decades. Largely self-taught, Susan created a unique stencilling too which she called her cloud technique. In theory, it is a simple technique, used to cover up printing errors, but the subtlety of the outcome underlines the mastery, as neither the clouds or the errors stand ...
The Mola or Molas is a hand-made textile that forms part of the traditional women's clothing of the indigenous Guna people from Panama and Colombia. Their clothing includes a patterned wrapped skirt (saburet), a red and yellow headscarf (musue), arm and leg beads (wini), a gold nose ring (olasu) and earrings in addition to the mola blouse ...
Up Tied's use of what was described as an "ancient Oriental art" of dying textiles fitted in with this theme. [7] [1] For the Coty fashion show, Up Tied's section was modelled by six dancers choreographed by Murray Louis. [1] Along with Halston, the fashion designers Donald Brooks and Gayle Kirkpatrick also used Up Tied fabrics. [1]