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Textile arts

Textile arts refer to the creation of flexible materials and decorative or functional objects using plant, animal, synthetic, or other fibers, employing techniques such as weaving, knitting, embroidery, felting, and dyeing to form networks of threads or yarns.^[1]^[2] These arts encompass both practical items like clothing, rugs, and upholstery and purely artistic works intended for display, reflecting human ingenuity in manipulating tactile and visual elements like fiber, color, structure, and pattern.^[3]^[4] Originating in prehistory, textile arts represent one of humanity's oldest creative practices, with evidence of production spanning over 5,000 years from Predynastic Egypt to the present day, though fragile materials limit surviving ancient examples.^[5] In the Andes, textiles emerged as the region's first art form by the second millennium BC, using cotton and camelid fibers in techniques like tapestry weaving and knotting to convey social status, political identity, and ritual significance.^[6] Across cultures, from ancient Chinese silks and Peruvian burials to medieval European tapestries like the 11th-century Bayeux Tapestry, textiles have encoded narratives, encoded economic systems, and symbolized power, often produced by specialized artisans or guilds.^[5]^[4] The Industrial Revolution in the 18th and 19th centuries transformed textile production through mechanization, enabling mass manufacturing, while also inspiring revival movements that elevated handcrafted techniques.^[7] In the 20th century, textile arts gained prominence as fine art, particularly through feminist movements in the 1960s and 1970s, with artists like Anni Albers exploring abstraction in woven wall hangings and Faith Ringgold using quilting to address social issues.^[4] Today, contemporary textile arts blend traditional methods with modern materials, addressing themes of sustainability, identity, and global interconnectedness in museum collections and public installations worldwide.^[8]^[9]

Fundamentals

Definition and Scope

Textile arts encompass the creation of fabrics and related materials through manual or mechanical processes that involve the interworking or manipulation of natural or synthetic fibers into flexible structures suitable for various applications. This field bridges practical utility—such as clothing, shelter, and household goods—with artistic expression, where textiles serve as mediums for cultural storytelling, aesthetic innovation, and symbolic communication.^[4]^[10] The term "textile" derives from the Latin verb texere, meaning "to weave," underscoring the ancient origins of the practice in interlacing fibers to form coherent sheets. However, the scope extends beyond weaving to include non-structural methods like felting, an early technique where wool fibers are matted together without spinning or interlacing, producing durable non-woven fabrics used since prehistoric times. The broad domain of textile arts thus involves fiber preparation, structural construction (such as knitting or crocheting), and surface embellishment (like dyeing or printing), while distinguishing itself from fashion design—which emphasizes garment assembly and styling—and industrial manufacturing, which focuses on large-scale, mechanized production for commercial efficiency rather than creative intent.^[11]^[12]^[13] Textile arts exhibit an interdisciplinary character, intersecting with anthropology through textiles as material embodiments of social identities, rituals, and power dynamics across cultures. In economics, they contribute substantially to global trade, employing millions in production chains and influencing market values through artisanal and sustainable practices. From an environmental science perspective, the field grapples with resource-intensive processes, prompting innovations in eco-friendly materials and waste reduction to mitigate ecological impacts.^[14]^[15]^[16]

Key Concepts

In textile arts, texture, pattern, and color serve as fundamental artistic elements that define the sensory and visual impact of a work. Texture refers to the tactile and visual surface quality of a fabric, arising from fiber arrangement, weave structure, and surface treatments, which can evoke emotions such as comfort or roughness through variations in smoothness, roughness, or relief.^[17] Pattern involves the repetition or arrangement of motifs, lines, and shapes, creating rhythm and unity that guide the viewer's eye and convey narrative or decorative intent, often achieved through techniques like printing or brocading.^[18] Color, influenced by hue, saturation, and value, interacts with texture and pattern to alter perception; for instance, high-contrast colors on a textured surface can amplify depth, while analogous schemes on smooth fabrics promote harmony, with light reflection on yarns further modulating these effects based on viewing angle.^[19] The concepts of warp and weft form the structural backbone of woven textiles, where the warp constitutes the longitudinal threads fixed on the loom and the weft the transverse threads interlaced perpendicularly, creating a grid that dictates the fabric's stability and flexibility.^[20] In cultural contexts, these elements carry symbolic meanings, often representing dualities such as verticality versus horizontality, life force versus connectivity, or gender roles. This interplay not only ensures mechanical integrity but also embeds metaphorical significance, allowing textiles to function as carriers of cultural narratives through deliberate manipulations of tension and intersection.^[21] Durability, flexibility, and drape are essential material properties that profoundly influence textile design by balancing functionality with aesthetic expression. Durability encompasses resistance to wear, abrasion, and environmental factors, determined by fiber strength and weave density, enabling textiles to withstand repeated use while maintaining form.^[22] Flexibility refers to the ease with which a fabric bends or stretches, governed by yarn twist and crimp, which allows for dynamic shaping without fracture and supports artistic explorations of movement.^[23] Drape, the manner in which fabric falls under gravity to form folds and contours, is shaped by weight, stiffness, and shear properties, transforming flat constructs into sculptural volumes that enhance three-dimensional appeal in design.^[24] Aesthetic theories in textiles emphasize the seamless integration of two-dimensional patterns into three-dimensional forms, viewing the medium as a bridge between planar design and volumetric expression. This integration leverages the inherent pliability of textiles to evolve flat motifs—such as geometric repeats or organic motifs—into draped or manipulated structures that gain depth through shadow, tension, and contour, challenging traditional boundaries of surface and space.^[25] Seminal approaches highlight how pattern scalability and material responsiveness enable this transition, where two-dimensional elements like weaves or prints adapt to curved forms, creating illusions of movement or embedding symbolic layers that resonate with the viewer's interaction.^[26] Such theories underscore textiles' unique capacity for performative aesthetics, where form emerges from the dialogue between static pattern and dynamic realization.^[27]

Materials

Natural Fibers

Natural fibers are organic materials derived from plants, animals, or minerals, serving as foundational elements in textile arts due to their renewability and inherent properties that lend themselves to weaving, knitting, and other fabrication techniques. These fibers are valued for their biodegradability and lower environmental footprint compared to synthetic alternatives, though their production can vary in resource intensity. Plant-based fibers, in particular, dominate global textile production, offering a range of textures and functionalities suited to diverse applications from apparel to upholstery. Among plant-based fibers, cotton is prized for its high absorbency and versatility, allowing it to absorb up to 27 times its weight in water while being suitable for blending with other materials in everyday garments and technical textiles.^[28] Flax, processed into linen, provides exceptional strength—often twice that of cotton—and a cool, breathable quality due to its high moisture absorption and desorption rates, making it ideal for summer fabrics.^[29] Hemp fibers exhibit remarkable durability, with tensile strength comparable to or exceeding that of cotton, alongside sustainability benefits such as low water requirements and soil-enriching growth that reduces the need for pesticides.^[30] Silk, derived from the cocoons of silkworms, stands out for its natural luster and smoothness, resulting from its protein structure that produces a soft, drapable filament with a pearly sheen.^[31] Animal-based fibers include wool, sourced from sheep fleece, which offers superior insulation by trapping air within its crimped structure and high elasticity, enabling recovery from up to 99% stretch at low extensions.^[32] Cashmere, the fine undercoat of cashmere goats, is renowned for its luxury due to its exceptionally soft texture from fibers averaging 15-19 micrometers in diameter, providing warmth without bulk.^[33] Mohair, harvested from Angora goats, features a distinctive sheen from its smooth, oval cross-section and high luster, contributing to its use in shiny, durable fabrics like upholstery.^[34] Mineral fibers, such as asbestos, were historically used in textiles for their fire resistance and strength in applications like fireproof curtains, but their extraction and use have been largely discontinued due to severe health risks, including lung cancer and asbestosis from inhaled fibers.^[35]^[36] Sourcing natural fibers involves harvesting from renewable biological sources: plant fibers like cotton and flax are gathered from cultivated fields via mechanical picking or retting processes, while animal fibers such as wool and mohair are obtained through annual shearing to avoid harm to the animals.^[37] These methods support biodiversity when managed sustainably, as diverse crop rotations with hemp can enhance soil health and reduce erosion, though monoculture practices for cotton often lead to water scarcity and habitat loss in arid regions.^[38] Environmental impacts include high water use for irrigation in cotton production—up to 20,000 liters per kilogram of fiber—and pesticide runoff affecting aquatic ecosystems, contrasted by hemp's lower input needs that promote carbon sequestration and biodiversity preservation. Silk production, reliant on mulberry cultivation for silkworms, can strain local water resources but supports agroforestry systems that bolster pollinator habitats when integrated with diverse planting. Overall, while natural fibers contribute to circular economies through biodegradability, their harvesting must balance yield with ecosystem protection to mitigate deforestation and species decline.^[39] Processing of these raw fibers into yarns typically involves cleaning, carding, and spinning, as detailed in subsequent sections on fiber preparation.

Synthetic and Regenerated Fibers

Regenerated fibers are derived from natural polymers, primarily cellulose sourced from wood pulp or other plant materials, and processed chemically to form new fibers that mimic the qualities of natural ones. Viscose, also known as rayon, is the oldest regenerated cellulose fiber, developed through a process patented in 1892 that involves dissolving cellulose in sodium hydroxide and carbon disulfide to create a viscous solution, which is then extruded into fibers.^[40]^[41] This results in viscose rayon exhibiting a silk-like drape and high absorbency, making it suitable for lightweight garments and linings that require fluidity and breathability.^[42] However, the production process releases hazardous chemicals, contributing to environmental concerns despite its renewable base material.^[43] Lyocell represents a more modern and eco-friendly variant of regenerated cellulose, produced via the N-methylmorpholine N-oxide (NMMO) process, which uses a non-toxic solvent that is nearly fully recoverable, reducing waste compared to viscose methods.^[44] This fiber offers superior moisture management properties, absorbing and releasing water more efficiently than many other cellulosics, which enhances comfort in activewear and bedding.^[45] Lyocell's closed-loop production minimizes environmental impact, positioning it as a sustainable alternative within regenerated fibers, though it remains more energy-intensive than unprocessed natural options.^[44] Fully synthetic fibers, in contrast, are created entirely from petrochemical-derived monomers through polymerization processes, where small molecules link into long chains to form polymers that are then spun into fibers.^[46] Nylon, the first commercial synthetic fiber, was invented in 1935 by Wallace Carothers at DuPont through the polycondensation of adipic acid and hexamethylenediamine, yielding nylon 6,6 with exceptional strength and elasticity ideal for hosiery, parachutes, and durable fabrics.^[47] Its high tensile strength—often exceeding that of natural silk—allows for resilient textiles that withstand abrasion and stretching without breaking.^[48] Polyester, another petroleum-based synthetic, is produced via the polymerization of ethylene glycol and terephthalic acid, resulting in fibers renowned for wrinkle resistance and shape retention, which revolutionized easy-care clothing like permanent-press shirts and blends.^[49] This property stems from its crystalline structure, enabling quick drying and minimal ironing needs, though it derives from non-renewable fossil fuels.^[50] Acrylic fibers, formed by polymerizing acrylonitrile, emulate wool's bulkiness and warmth at a lower cost, providing soft, lightweight insulation for sweaters and blankets with low moisture absorption to prevent sogginess.^[51] Their affordability arises from inexpensive raw materials and scalable production, making them accessible for mass-market textiles.^[52] Synthetic fibers offer advantages such as uniformity in diameter and quality across batches, ensuring consistent dyeing and weaving performance that natural fibers often lack due to variability in growth conditions.^[49] Lower production costs, driven by abundant petrochemical feedstocks and automated processes, have democratized textile manufacturing, enabling affordable apparel worldwide. However, these benefits come with drawbacks, including poor biodegradability; synthetics like polyester and nylon shed microplastic particles during washing and wear, contributing to widespread ocean pollution estimated at over 500,000 tons annually from textiles alone.^[53] This environmental trade-off contrasts with the biodegradability of natural fibers, underscoring ongoing challenges in balancing innovation with sustainability.^[53]

Techniques and Processes

Fiber Preparation and Spinning

Fiber preparation begins with cleaning raw fibers to remove impurities such as dirt, seeds, and vegetable matter, ensuring they are suitable for subsequent processing. For natural fibers like cotton, this often involves ginning to separate seeds from the lint, followed by mechanical cleaning in blowroom machines that use beaters and grids to dislodge contaminants without excessive fiber damage.^[54]^[55] The process varies by fiber type; wool, for instance, requires scouring to eliminate grease and dirt before further cleaning.^[56] Carding follows cleaning and is essential for aligning and paralleling the fibers while removing remaining short fibers and impurities. In this mechanical process, fibers are passed through a series of toothed rollers or a flat carding machine, where they are disentangled, mixed, and formed into a thin, uniform web or sliver.^[54]^[57] The carding action, driven by a main cylinder rotating against worker and stripper rollers, distributes fibers evenly and enhances web cohesion, with typical fiber lengths ranging from 38 to 100 mm for optimal results.^[57] This step prepares the fibers for drawing and spinning by reducing irregularities and improving uniformity.^[58] Spinning transforms the prepared fiber slivers into yarn by drawing out and twisting them to impart strength and cohesion. Hand-spinning techniques, used for millennia, rely on simple tools like the drop spindle, where fibers are drafted and twisted as the weighted spindle rotates and drops, or the spinning wheel, which automates the process with a treadle-driven flyer to continuously draw and twist fibers.^[59] These methods allow control over twist direction—S-twist (left-handed) or Z-twist (right-handed)—to suit the desired yarn properties.^[60] In modern textile production, mechanized ring spinning has become the dominant technique, involving a ring traveler that rotates around a spindle to insert twist while winding the yarn onto a bobbin. This process draws slivers through drafting rollers, adds twist for yarn count control, and produces high-quality yarns with consistent thickness and strength.^[59] Ring spinning is valued for its ability to create finer yarns compared to earlier methods, though it operates at moderate speeds to minimize end-breakages.^[61] Yarn types vary based on construction and intended use, with single yarns consisting of a single strand of twisted fibers for simplicity and economy, while plied yarns combine two or more single yarns twisted together to enhance strength and evenness. Slub yarns introduce deliberate thick and thin sections during spinning to create textured effects, adding visual and tactile interest without compromising overall integrity. Yarn thickness is measured using standards like tex, which quantifies the mass in grams per 1,000 meters (lower values indicate finer yarns), or denier, the mass in grams per 9,000 meters, commonly applied to filament-based yarns.^[62]^[63] The transition from manual to industrial spinning marked a pivotal shift in textile production during the 18th century. James Hargreaves' invention of the spinning jenny in 1764 enabled one worker to operate multiple spindles simultaneously—initially eight, later up to 120—producing finer yarn at increased speeds and laying the groundwork for factory-based manufacturing. This hand-powered multi-spindle device addressed labor shortages in spinning and boosted productivity, contributing significantly to the Industrial Revolution's mechanization of textiles.^[64]^[65] Weaving is a fundamental structural technique in textile arts that involves interlacing two sets of yarns—warp and weft—at right angles to form a stable fabric. The warp yarns run lengthwise and are held under tension, while the weft yarns are inserted crosswise to bind the structure. This method creates durable, flat textiles suitable for clothing, upholstery, and other applications.^[66]^[67] The three primary weave patterns are plain, twill, and satin, each defined by the specific interlacement of warp and weft. Plain weave, also known as tabby or taffeta weave, is the simplest and most balanced structure, where each weft yarn passes alternately over and under successive warp yarns, producing a strong, even fabric like muslin or canvas.^[68]^[69] Twill weave creates diagonal lines or ridges on the surface through a staggered interlacement, where each weft yarn floats over at least two warp yarns before passing under one, resulting in a durable, drapable textile such as denim or gabardine.^[70]^[71] Satin weave features long floats of warp or weft yarns that pass over multiple perpendicular yarns before interlacing, yielding a smooth, lustrous surface ideal for silks and satins, though it is less durable than plain or twill.^[67]^[66] Various loom types facilitate weaving by maintaining warp tension and enabling the shedding process, where warp yarns are separated to allow weft insertion. The backstrap loom is a portable, body-tensioned device used since ancient times, consisting of warp yarns stretched between a fixed point and a strap around the weaver's waist or back, allowing for simple plain weaves and mobility in traditional settings.^[72]^[73] The pit loom, a floor-based apparatus, features a frame built over a shallow pit in the ground, with treadles below ground level for the weaver's feet to operate heddles, enabling efficient production of wider fabrics in regions like South Asia.^[74]^[75] The Jacquard loom, invented and demonstrated by Joseph Marie Jacquard in 1801, revolutionized pattern weaving by using punched cards laced into a chain to automatically control individual warp threads, allowing complex designs without manual intervention.^[76]^[77] Related structural techniques build fabrics through interlocking rather than interlacing, offering elasticity and versatility. Knitting forms a series of interconnected loops from a single continuous yarn, creating flexible, stretchable textiles like jerseys that conform to shapes and provide insulation through their looped architecture.^[78]^[79] Crocheting uses a hooked tool to interlock loops in a chain-like sequence from one yarn, producing denser, more sculptural forms that are stronger and less prone to unraveling than knitting, often used for three-dimensional items.^[79]^[80] Weave density, a measure of fabric compactness, is determined by counting the number of warp threads per inch (ends per inch, or EPI) and weft threads per inch (picks per inch, or PPI), typically using a magnifying tool or automated scanner for precision. Higher densities, such as 60 EPI and 50 PPI in fine shirting, enhance strength and smoothness but require finer yarns to avoid bulk.^[81]^[82]

Non-Structural Techniques

Non-structural techniques in textile arts encompass methods that transform or decorate fibers and fabrics through surface treatments, matting, or resist processes, without relying on interlacing to form the primary structure. These approaches allow for embellishment and coloration of base materials, often derived from woven or spun forms, to create decorative or functional textiles. Felting is a process where wool or other animal fibers are matted together using agitation, moisture, and sometimes heat to produce dense, non-woven fabrics without spinning or weaving. The technique exploits the scales on wool fibers, which interlock when rubbed, forming a compact material ideal for items like hats, boots, and rugs. Historically, felting predates woven textiles and originated among nomadic tribes in Central Asia during antiquity, with evidence from the Chou dynasty in China (4th-3rd century B.C.) and early European practices. The process typically involves layering cleaned wool fibers on a mat, wetting them with soapy water, rolling or beating them to encourage felting, and then fulling the material by further pressing or walking on it to achieve even density.^[83] Fulling, closely related to felting, applies similar principles of friction and moisture to woven woolen cloth, causing it to shrink, thicken, and felt for enhanced durability and warmth. This method cleanses impurities while matting the yarns, resulting in a milled fabric that is denser and more water-resistant, commonly used for garments and headwear. In medieval Europe, fulling mills mechanized the beating process with water-powered hammers, transforming coarse wool into finer textiles.^[84] Dyeing introduces color to textiles by immersing fibers, yarns, or fabrics in solutions derived from natural or synthetic sources, while printing applies patterns through localized coloration techniques. Natural dyes, obtained from plants like indigo (Indigofera tinctoria) for blues or madder (Rubia tinctorum) for reds, and insects like cochineal (Dactylopius coccus) for vibrant scarlets, have been used since at least 3000 B.C., offering eco-friendly but less colorfast results compared to synthetics developed in the 19th century, such as Perkin's mauveine. Synthetic dyes provide brighter, more uniform hues and greater fastness but pose environmental risks due to petrochemical origins. Traditional dyeing with indigo involves fermenting leaves to produce a soluble vat, dipping the material, and oxidizing it in air for the characteristic blue, often repeated for depth.^[85]^[86] Printing techniques build on dyeing to create motifs, including block printing, where carved wooden or metal blocks dipped in dye or paste are stamped onto fabric, a method documented in Egypt from the 4th century A.D. and refined in medieval Europe using mordants like alum for fixation. Batik employs a wax-resist process, applying molten wax with tools like the canting to fabric, dyeing the exposed areas, and cracking the wax for veined effects; originated in Java, Indonesia, it allows multilayered colors through repeated waxing and dyeing, with wax later boiled off. Ikat, a pre-weaving tie-dye variant, binds sections of yarns to resist dye absorption before weaving, producing blurred, feathered patterns; this technique dates to at least the 6th century A.D. in India and spread across Southeast Asia, with double ikat (warp and weft) requiring precise alignment for complex designs.^[86]^[87]^[88] Embroidery and appliqué add decorative stitching or layered elements to enhance textiles with motifs, serving both aesthetic and narrative purposes. Embroidery involves needlework on a base fabric, using threads to create patterns; cross-stitch, a counted technique forming X-shaped stitches on even-weave cloth, produces geometric or pictorial designs, often seen in samplers and folk arts. Appliqué secures smaller fabric pieces onto a larger ground with stitches, allowing bold shapes and textures, frequently combined with embroidery for edging. Goldwork, a luxurious form, employs metal threads—such as flat gold ribbons or twisted wires—couched down with fine stitches rather than piercing the fabric, creating shimmering effects; historically used in ecclesiastical vestments from 12th-century England, it incorporates padding for raised elements and spangles for sparkle.^[89]^[90] Basketry and netting represent tangential non-woven forms within textile arts, constructing open or solid structures from flexible fibers through coiling, twining, or knotting rather than weaving. Basketry shapes plant materials like reeds or grasses into three-dimensional objects using coiling, where a spiral core is stitched with binder elements, or twining, twisting weft strands around warps; one of humanity's oldest crafts, it dates to over 10,500 years ago and produces utilitarian items like containers with inherent strength from interlocking. Netting knits open meshes by looping or knotting cords, a Mesolithic-era technique for fishing gear and veils, forming hexagonal or square gaps without a loom for lightweight, breathable fabrics.^[91]^[92]

Historical Development

Prehistoric and Ancient Eras

The earliest known evidence of textile production dates to the Upper Paleolithic period, with impressions of woven textiles preserved on fired clay fragments from the Pavlov site in the Czech Republic, dating to approximately 27,000 BCE.^[93] These imprints suggest the use of plant-based fibers twisted into cordage or simple fabrics, indicating early experimentation with fiber manipulation for practical purposes such as netting or clothing.^[94] Additionally, fragments of twisted flax fibers, the oldest direct evidence of fiber processing, were discovered in Dzudzuana Cave in the Republic of Georgia, radiocarbon dated to around 30,000 BCE, pointing to the use of wild flax for cordage in Eurasia.^[95] During the Neolithic period, textile arts advanced significantly in the Near East, where archaeological evidence from sites like Çayönü in modern-day Turkey reveals spindle whorls and loom weights indicative of systematic spinning and weaving around 9000 BCE.^[96] These tools facilitated the production of fabrics from plant fibers such as flax, which was processed into linen threads for garments and household items.^[97] In the Indus Valley, cotton cultivation emerged as a key development, with cotton seeds and impressions found at Mehrgarh in present-day Pakistan dating to 5000 BCE, marking the earliest evidence of domesticated cotton used for spinning into yarn.^[98] In ancient Egypt, linen—derived from flax—dominated textile production, serving both daily and ritual functions, including the wrapping of mummies to preserve bodies for the afterlife, as evidenced by finely woven linen sheets from tombs dating back to the Old Kingdom (c. 2686–2181 BCE).^[99] Vertical looms were commonly employed, allowing for the creation of high-quality, sheer fabrics that symbolized purity and status in Egyptian society.^[100] In Mesopotamia, wool from domesticated sheep became the primary fiber by the Early Bronze Age (c. 3000 BCE), used to produce durable tapestries and garments, as indicated by cuneiform records and rare textile fragments from Ur, highlighting wool's role in trade and temple economies.^[101] Classical Greece and Rome further refined textile practices, with the trade in Tyrian purple dye—extracted from murex snails along the Phoenician coast—becoming a symbol of elite status by the 6th century BCE, often applied to woolen fabrics like the Roman toga.^[102] The toga, a semicircular woolen drape reserved for male citizens, exemplified Roman textile engineering, woven on horizontal looms for its structured pleats and symbolic weight.^[103] By around 200 BCE, emerging overland trade routes, precursors to the Silk Road, began facilitating the exchange of silk and other luxury textiles between the Mediterranean and Asia, integrating diverse fiber traditions across empires.^[104]

Medieval to Industrial Revolution

In medieval Europe, textile production became increasingly organized through craft guilds, which regulated quality, training, and trade in urban centers from the 13th century onward. These guilds, encompassing weavers, dyers, and fullers, ensured standardized production of woolen and linen cloths, fostering economic stability and skill transfer via apprenticeships lasting 5 to 9 years. By controlling labor markets and enforcing quality through officers known as searchers, guilds supported the expansion of textile exports during periods of economic growth following the Black Death.^[105] A key aspect of this era was the flourishing wool trade in Flanders around 1200, where high-quality woolens from local production and English imports were processed into finished cloths for export across Europe. Cities like Bruges emerged as epicenters, with wool undergoing shearing, carding, spinning, weaving, fulling, and dyeing using plants like woad and madder, fueling urban wealth and architectural developments such as guild halls and market squares. Craft guilds in Flanders gained significant influence by the mid-13th century, organizing labor and occasionally staging strikes in 1252, 1274, and 1280–1281 to negotiate better conditions amid the industry's dominance, which employed up to half the population in places like Ghent and Ypres.^[106]^[107] Silk production also advanced in medieval Italy, beginning in Lucca during the 12th century and expanding to cities like Florence, Venice, Genoa, and Bologna by the 15th century, making Italy Europe's leading producer of luxury silk textiles. Guilds regulated the industry through statutes, such as Florence's 1411 rules, which oversaw artisan training and production standards, while entrepreneurs imported raw silk and invested in workshops. Labor costs accounted for 30–35% of production expenses in 15th-century Florence, with state incentives promoting the sector's growth to meet demand from nobility and international markets.^[108] During the Islamic Golden Age under the Abbasid dynasty (750–1258 CE), textile production thrived as a prestigious industry, with luxury cloths serving as trade goods, diplomatic gifts, and symbols of wealth often valued more than gold. In Persia around 1000 CE, advanced weaving techniques on horizontal and vertical looms enabled complex patterns, including damask weaves characterized by reversible designs with contrasting sheen from satin and sateen structures. Pattern books and drawloom mechanisms facilitated intricate motifs like arabesques and medallions, influencing textile exports from centers in Baghdad and Persia to Europe and beyond.^[109]^[110] In the colonial Americas, indigenous cotton weaving in Peru predated European arrival, forming a cornerstone of pre-Columbian Andean cultures where textiles held greater value than gold and were used in rituals, exchange, and status display. Techniques on backstrap looms produced intricate cotton cloths with geometric patterns, dating to around 2000 BCE, as seen in tunics and bags from pre-Columbian Andean sites.^[111]^[112] Following Spanish colonization after 1492, European introductions included silk, metallic threads, and new motifs like lions, blending with local camelid fibers to create hybrid textiles such as 17th-century uncus tunics for elite ceremonies.^[111]^[112] The transition to the Industrial Revolution marked a shift from artisanal to mechanized production, beginning with John Kay's flying shuttle in 1733, which automated weft insertion to double weaving speed and enable wider cloths, intensifying yarn demand. Richard Arkwright's water frame, patented in 1769, used water-powered rollers to spin stronger, finer cotton yarn on multiple spindles, powering the first factories like the 1771 Cromford mill with 129 spindles operated mainly by women. These innovations led to centralized factory systems by the late 18th century, reducing costs but introducing harsh conditions, including widespread child labor where children worked 12-hour shifts in dangerous mills, crawling under machines to clear waste at risk of injury or death. By 1800, such practices fueled rapid industrialization while sparking early labor critiques.^[113]

Modern and Contemporary Evolution

The Arts and Crafts movement, emerging in the 1860s, represented a significant reaction against the dehumanizing effects of industrialization on textile production, advocating for handmade craftsmanship and natural motifs in designs. Led by figures like William Morris, who founded Morris & Co. in 1861, the movement emphasized the revival of traditional techniques such as block printing and hand-weaving to produce textiles that integrated beauty with utility, influencing wallpaper, fabrics, and furnishings across Britain and beyond.^[114]^[115] This ethos extended into the early 20th century, culminating in the Bauhaus school's approach in the 1920s, which sought to merge fine art with functional design in textiles, promoting machine-aided production for affordable, modern interiors. Founded in 1919 by Walter Gropius, the Bauhaus weaving workshop experimented with geometric patterns and new materials like cellophane, aiming to democratize design while maintaining aesthetic integrity.^[116]^[117] Following World War II, textile arts evolved toward abstraction and recognition as fine art, with influences from movements like Abstract Expressionism evident in the structural explorations of weavers such as Anni Albers, who began creating pictorial textiles in the late 1940s that treated weaving as a medium for non-representational expression. Albers, a former Bauhaus instructor, pushed boundaries by incorporating industrial materials and geometric forms, helping elevate fiber-based works from craft to gallery-worthy installations during the 1950s and 1960s.^[118]^[119] This period marked fiber art's broader acceptance, as artists bound fibers into sculptural forms, bridging traditional techniques with modernist experimentation and gaining institutional validation through exhibitions.^[4] Globalization accelerated textile production shifts post-1950, with mass manufacturing relocating to Asia due to lower costs and supportive policies, transforming economies like Taiwan and Hong Kong into major exporters by the 1960s. Japan's dominance in the 1950s gave way to rapid growth in East Asian newly industrializing economies during the 1970s and 1980s, followed by China's emergence in the 1990s, fueling a supply chain that prioritized volume over artisanal methods.^[120]^[121] This outsourcing laid the groundwork for fast fashion's rise from the 1970s, driven by youth-driven trends and quick-response manufacturing, which shortened production cycles and democratized trendy apparel but intensified environmental pressures.^[122] In the digital era, computer-aided design (CAD) systems revolutionized pattern creation starting in the 1980s, enabling precise simulations of weaves and prints that streamlined the transition from sketch to production. By the 2010s, experiments in 3D printing textiles introduced additive manufacturing techniques, allowing designers like Iris van Herpen to produce intricate, customizable garments directly from digital files, blending flexibility with sustainability potential through reduced waste.^[123]^[124] In the 2020s, textile arts have increasingly incorporated sustainable practices and smart technologies, with innovations like bio-based fibers and AI-assisted design addressing environmental concerns and expanding artistic possibilities as of 2025.^[125]

Cultural and Functional Roles

Practical Functions

Textiles fulfill essential practical roles in providing protection, comfort, and utility across various aspects of daily life and industry. In clothing and shelter, fabrics are engineered for specific performance attributes, such as breathability in apparel, which facilitates the evaporation of perspiration to maintain wearer comfort during physical activity. Breathability is quantified through standards like the RET (evaporative thermal resistance) coefficient, where values below 6 RET indicate high breathability suitable for activewear, as measured by ISO 11092 protocols.^[126] For shelter, durable textiles like ripstop nylon and polyester form the canopies of tents, offering resistance to tearing and weather exposure while allowing ventilation to prevent condensation buildup.^[127] Upholstery fabrics, often composed of tightly woven synthetics or blends, provide abrasion resistance and cushioning for furniture, extending the lifespan of household seating and enhancing ergonomic support.^[128] Beyond apparel and shelter, textiles support household and medical applications through their absorbent and structural properties. In households, bedding such as sheets and duvet covers utilizes soft, moisture-wicking materials like cotton or bamboo blends to regulate temperature and promote hygiene during sleep.^[128] For medical uses, gauze weaves—characterized by a loose, open plain weave structure typically in cotton or rayon—serve as bandages and dressings, enabling effective absorption of wound exudate while permitting airflow to aid healing without adhering to tissue. Textiles also play a critical role in filtration, where woven or nonwoven fabrics with precise pore sizes separate particulates from liquids or gases in industrial processes, such as water purification or air handling systems, relying on materials like polypropylene for chemical resistance and efficiency.^[129] The textile industry's economic significance underscores its practical impact, driving global trade and employment on a massive scale. As of 2024, the worldwide textile market is valued at approximately USD 1.11 trillion, and as of 2025, it is estimated at USD 1.16 trillion, encompassing production and trade of fibers, fabrics, and finished goods essential for consumer and industrial needs.^[130] This sector employs around 60 to 70 million people globally, predominantly in developing economies, where two-thirds to three-quarters of the workers are women, serving as a key entry point for industrialization and poverty reduction through export-oriented garment production.^[131] Protective functions of textiles extend to specialized applications demanding enhanced safety features. Flame-retardant fabrics, treated with compounds like phosphorus-based chemicals, must comply with standards such as NFPA 701, which requires samples to self-extinguish within 2 seconds and limit char length to under 6.5 inches after exposure to an open flame.^[132] Similarly, waterproof textiles for gear, such as those incorporating expanded polytetrafluoroethylene (ePTFE) membranes like GORE-TEX, achieve hydrostatic head ratings above 28,000 mm to repel liquid water while permitting vapor transmission for breathability in rainwear and outdoor equipment.^[133]

Artistic and Symbolic Expressions

Textile arts have long served as powerful mediums for narrative expression, transforming woven or embroidered fabrics into visual stories that convey historical events, cultural myths, and personal experiences. The Bayeux Tapestry, an embroidered cloth measuring approximately 70 meters in length and dating to the 1070s, exemplifies this tradition through its detailed depiction of the Norman Conquest of England in 1066, blending historical accuracy with artistic storytelling to commemorate William the Conqueror's victory. Similarly, quilts in various cultures function as narrative canvases; for instance, African American quilts during the 19th and 20th centuries often encoded stories of resilience and community, using patchwork patterns to symbolize journeys along the Underground Railroad or family histories. In West Africa, kente cloth from the Asante people of Ghana features intricate geometric patterns that encode proverbs, social values, and historical events, with motifs like the "Sankofa" bird representing the importance of learning from the past to build the future. These examples illustrate how textiles transcend mere decoration, becoming repositories of collective memory and identity. Contemporary textile artists have expanded these narrative potentials into sculptural and installation forms, challenging traditional boundaries between craft and fine art. Sheila Hicks, an American artist active since the 1960s, is renowned for her monumental fiber works that explore scale, color, and tactility, such as her large-scale installations like "The Principal Wife" (1970), which use bundled threads to evoke organic forms and cultural dialogues drawn from her global travels. Hicks' pieces, often site-specific and immersive, transform spaces into tactile environments that invite viewer interaction, blurring lines between two-dimensional weaving and three-dimensional sculpture. This evolution highlights textiles' versatility in contemporary art, where fiber becomes a medium for abstract expression and social commentary. Beyond narrative and sculptural uses, textiles embody profound symbolic meanings tied to life cycles, rituals, and social structures. Mourning veils, prevalent in Victorian-era Europe from the 19th century, were crafted from black crepe or silk to signify grief and social withdrawal, their heavy, opaque fabric symbolically shielding the wearer from the world while adhering to strict mourning protocols that lasted up to two years for widows. Ceremonial robes, such as the Yoruba agbádá ìlèkè from Nigeria, incorporate vibrant woven strips and beadwork to denote status, spiritual authority, and communal harmony during rituals, enhancing the wearer's presence through an "aesthetic of bigness" rooted in cultural symbolism. Gender associations further enrich these roles; in many traditions, including ancient Andean societies, weaving was predominantly a female domain, symbolizing fertility, domestic authority, and cultural continuity, with textiles like huipil blouses serving as markers of identity and lineage passed down through matrilineal lines. These symbolic layers underscore textiles' role in articulating human emotions, hierarchies, and transitions. The recognition of textiles as fine art has been formalized through institutional elevation, particularly in museums dedicated to design. The Cooper Hewitt, Smithsonian Design Museum, established in 1897 by Sarah and Eleanor Hewitt, began acquiring textiles as core to its mission of advancing decorative arts, amassing over 30,000 examples that span global histories and demonstrate textiles' artistic merit alongside functionality. This collection, including ancient fragments and modern innovations, has positioned textiles within broader art historical narratives, influencing curatorial practices and public appreciation since its inception.

Regional and Cultural Variations

Asia and the Middle East

Textile arts in Asia and the Middle East represent some of the world's oldest and most intricate traditions, deeply intertwined with cultural, economic, and spiritual practices. These regions have long been centers of innovation in fiber processing, dyeing, and patterning, with techniques passed down through generations and influenced by trade networks. From the luxurious silks of East Asia to the symbolic weaves of South Asia and the durable floor coverings of the Middle East, these arts emphasize both utility and aesthetic expression, often incorporating motifs that reflect cosmology, nature, and social hierarchies.^[134] In China, silk production originated around 2700 BCE, traditionally attributed to the legendary Empress Leizu, who is said to have discovered sericulture by observing silkworms. Archaeological evidence supports early domestication of the silkworm Bombyx mori, with biomolecular traces of silk fibroin found in Neolithic tombs dating back approximately 8,500 years, though widespread weaving emerged later in the Neolithic period. This innovation transformed textiles into a cornerstone of Chinese economy and culture, with silk reserved for imperial use and exported along trade routes. Chinese brocade weaves, known as zhijin, exemplify advanced Jacquard-like techniques where supplementary wefts create raised, ornate patterns on silk grounds, dating to the Warring States period (475–221 BCE) and reaching artistic peaks during the Tang Dynasty (618–907 CE), when warp-faced and weft-faced methods allowed for intricate floral and dragon motifs symbolizing power and prosperity.^[135]^[136]^[137] Trade along the Silk Road facilitated the spread of Chinese silk techniques to neighboring regions, notably influencing Japanese kimono production. By the Nara period (710–794 CE), silk imports from China inspired local weaving of luxurious kinran brocades for elite garments, adapting Chinese patterns into Japanese aesthetics with motifs like cranes and pines, which became integral to kimono construction as straight-seamed robes requiring minimal cutting to preserve fabric integrity. In India, sari fabrics embody a continuum of draped textile traditions, with origins traceable to the Indus Valley Civilization (c. 2800–1800 BCE), where early cotton weaves served as unstitched garments mentioned in the Rig Veda (c. 1500 BCE) as symbols of femininity and ritual purity. Block printing in Rajasthan, a technique involving hand-carved wooden blocks dipped in natural dyes like indigo and madder, has roots in the 12th century CE among communities in Bagru and Sanganer, producing vibrant geometric and floral patterns on cotton for saris and turbans, often using mordant resists to achieve colorfast designs that reflect Rajasthani folklore and Islamic influences from trade.^[138]^[139]^[140] Khadi hand-spinning in India gained prominence in the 1920s through Mahatma Gandhi's promotion as a tool for economic self-reliance and resistance to British colonial imports, establishing the All-India Spinners' Association in 1925 to revive charkha wheels for producing coarse, hand-woven cotton cloth that symbolized swadeshi (self-sufficiency) and empowered rural women artisans. In the Middle East, Persian carpets trace their knotting techniques to around 500 BCE, with early references in Xenophon's Anabasis (c. 400 BCE) describing nomadic weavers using the asymmetric Senneh knot—looped around one warp thread and tucked under the next—to create dense pile rugs with wool or silk, featuring curvilinear floral medallions inspired by garden symbolism and Safavid-era (1501–1736 CE) court designs. Turkish kilims, as flatweaves without pile, employ slit-tapestry techniques or simple interlocking wefts to form bold geometric motifs such as diamonds, eyes, and hands—talismanic symbols warding off evil—originating among Anatolian nomads from the 15th century CE onward, valued for their portability and use as tent dividers or prayer rugs.^[141]^[142]^[143] Cultural exchanges via the Silk Road profoundly shaped regional variations, such as the transmission of Chinese resist-dyeing methods to Indonesia, where batik evolved by the 6th century CE into a wax-resist technique on cotton using canting tools for intricate parang (cliff pattern) motifs, blending Indian, Arab, and Chinese influences into Javanese royal attire that denoted social status and cosmology. These traditions underscore the enduring legacy of Asian and Middle Eastern textile arts in fostering identity and connectivity across vast distances.^[144]

Europe and the Americas

In the wake of Christopher Columbus's voyages after 1492, cotton—a plant native to the Americas—was introduced to Europe, transforming textile production and fueling the rise of plantation economies in the New World. This exchange, part of the broader Columbian Exchange, saw cotton cultivation expand rapidly in the southern United States, where it became the dominant cash crop by the early 19th century, reliant on enslaved labor and exported primarily to British mills to power the Industrial Revolution. By 1860, U.S. cotton production reached over two billion pounds annually, with 75% shipped to Europe, underscoring the economic ties between American plantations and European textile industries.^[145]^[146] European textile arts flourished through specialized techniques and luxury traditions, exemplified by lace-making in Flanders during the 16th century. Emerging from earlier embroidery practices like cutwork, Flemish lacemakers developed independent bobbin and needle techniques using fine linen threads, prized for their whiteness and strength due to local flax cultivation; centers like Brussels and Mechelen produced intricate designs that rivaled Italian imports and became status symbols across Europe.^[147]^[148] In Scotland, tartans—woven woolen cloths with distinctive plaid patterns—evolved as symbols of clan identity, though the standardized association of specific designs with clans dates to the 19th century romantic revival, drawing on earlier Highland traditions of regional dyeing from natural sources like plants and lichens.^[149] French haute couture, formalized in the mid-19th century by houses like Worth, elevated textile use through opulent fabrics such as silk velvets and embroidered linens, often sourced globally but refined in Paris ateliers to embody imperial elegance and innovation in garment construction.^[150]^[151] Across the Americas, indigenous weaving traditions persisted and adapted amid colonial influences, as seen in Navajo practices in the southwestern United States. Post-1500s Spanish contact introduced Churro sheep wool and synthetic dyes, shifting Navajo weaving from Pueblo-influenced blankets to geometric rugs with bold patterns like diamonds and zigzags, which became commercially viable after the 1868 reservation era through trader demands at posts like Ganado.^[152] In the Andes, backstrap looms—portable tension devices worn by the weaver—maintained Inca-era continuity, enabling warp-faced textiles with supplementary weft for geometric motifs inspired by natural elements; this technique, used for tunics and belts, survived Spanish conquest and remains vital in communities like Cuzco for cultural preservation.^[153] Meanwhile, in the 19th-century United States, quilt-making served abolitionist purposes, with women incorporating symbolic motifs—such as chained figures or liberty inscriptions—into pieced blocks using cotton scraps, channeling domestic skills into political advocacy through organizations like anti-slavery fairs.^[154]^[155] By the 1930s, Scandinavian modernism redefined textiles through functional design principles, emphasizing simplicity, natural materials, and everyday utility as showcased at the 1930 Stockholm Exhibition. Designers in Sweden and Denmark prioritized woven wool and cotton in organic patterns that countered rigid Bauhaus aesthetics, promoting democratic access to quality home furnishings amid economic recovery.^[156]^[157]

Africa and Oceania

In Africa, textile arts have long served as vital expressions of cultural identity, social hierarchy, and environmental adaptation, with practices varying across regions but often emphasizing communal production and symbolic meaning. Kente cloth, developed among the Ashanti people of Ghana in the 17th century, exemplifies this tradition as a handwoven textile made from narrow strips of silk or cotton, initially reserved for royalty and signifying status and spiritual beliefs.^[158] Produced by Asante and Ewe weavers using techniques passed down through generations, kente features vibrant geometric patterns that encode proverbs, historical events, and moral values, worn during ceremonies to reinforce community bonds.^[159] Similarly, in Mali, bogolanfini, or mud cloth, crafted by Bamana women since at least the 12th century, involves dyeing cotton fabric with fermented mud and natural pigments to create intricate geometric designs that convey symbolic messages such as fertility, protection, and proverbs related to daily life and rituals.^[160] These patterns, learned through maternal apprenticeships, transform the cloth into a narrative medium, often used in initiation rites and as symbols of cultural pride in contemporary contexts.^[161] Further south in sub-Saharan Africa, raffia weaving among the Kuba people of the Democratic Republic of Congo represents a pre-colonial pinnacle of technical innovation, utilizing fibers from the raffia palm to produce velvety, appliquéd cloths known as shoowa since the 17th century.^[162] These textiles, woven by men and embroidered by women, feature complex motifs inspired by cosmology and social roles, serving as currency, ceremonial garments, and status markers in a society where cloth was a household staple.^[163] In Zulu communities of South Africa, beadwork has been integrated into textiles since the 16th century, when European trade beads arrived via Portuguese explorers, allowing women to create colorful, coded accessories and garments that communicate marital status, lineage, and emotions through geometric arrangements.^[164] This fusion of imported glass beads with local fiber bases, such as leather or grass, underscores adaptive ingenuity in response to external trade networks.^[165] Turning to Oceania, textile practices highlight ecological harmony and ritual significance, often using non-loomed materials suited to island environments. Tapa bark cloth, prevalent across Pacific Islands like Samoa, Fiji, and Tonga, is produced by beating the inner bark of trees such as the paper mulberry into thin, flexible sheets, a technique dating back millennia and employed in rituals, ceremonies, and as ceremonial wrappers or tattoos on skin.^[166] The resulting cloth, adorned with painted motifs of flora, fauna, and ancestral symbols, fosters communal storytelling during events like weddings and funerals, emphasizing the interconnectedness of people and nature.^[167] Among the Maori of New Zealand, flax (harakeke) weaving forms a cornerstone of cultural continuity, with women crafting piupiu skirts and kete baskets using twining and plaiting methods that incorporate aroha patterns—designs evoking love, connection, and protection—rooted in pre-colonial traditions and vital to identity preservation.^[168] These flax works, imbued with spiritual protocols like reciting karakia prayers during harvesting, serve in haka performances and marae gatherings, adapting ancient techniques to contemporary expressions of heritage.^[169] Colonial encounters from the late 1800s onward disrupted these traditions across Africa and Oceania by introducing cheap synthetic fabrics, which undercut local production and led to the decline of indigenous weaving economies as imported cotton and polyester flooded markets.^[170] In Africa, this shift marginalized crafts like raffia and mud cloth, associating them with rural backwardness, while in Oceania, European cloth supplanted tapa in everyday use, confining it to ceremonial roles.^[171] However, 20th-century revival movements, spurred by independence struggles and cultural nationalism, reinvigorated these arts; in Ghana, post-1957 efforts promoted kente as a national symbol, while in Mali, bogolanfini gained global recognition through artists blending traditional motifs with modern designs.^[172] Similarly, Maori weaving collectives in New Zealand, emerging in the mid-1900s, emphasized aroha patterns to reclaim and teach ancestral knowledge amid urbanization, fostering sustainable practices tied to ecological and social resilience.^[173]

Contemporary Practices and Innovations

Notable Textile Artists

Anni Albers (1899–1994) was a pioneering textile artist associated with the Bauhaus school, where she explored the integration of weaving with modern design principles. Her abstract wall hangings, such as "Wall Hanging" (1926), emphasized geometric patterns and material textures, transforming textiles into autonomous fine art forms that influenced mid-20th-century modernism. Albers's work highlighted the structural possibilities of weaving, drawing from both industrial and pre-Columbian influences to create pieces that balanced functionality and aesthetic innovation. Lenore Tawney (1907–2007) revolutionized fiber art in the 1960s through her innovative open-warp weaving techniques, creating sculptural forms that blurred the boundaries between craft and contemporary sculpture. Her series of "Woven Forms," including "Woven Form I" (1963), featured suspended threads and minimal structures that evoked a sense of ethereal space, challenging traditional loom-based practices. As a key figure in feminist fiber art, Tawney's work empowered women artists by elevating textile media to high art status, often exhibited in major institutions like the Museum of Modern Art. Faith Ringgold (born 1930) is renowned for her narrative story quilts that address issues of race, gender, and civil rights through a fusion of painting, fabric, and text. Her iconic "Tar Beach" (1988), part of the Woman on a Bridge series, depicts a young Black girl's imaginative flight over 1930s Harlem, using pieced fabrics and embroidered borders to convey personal and political stories. Ringgold's quilts, which draw from African American quilting traditions, have been pivotal in expanding textile arts into social commentary, with works acquired by institutions like the Whitney Museum of American Art. In the contemporary landscape, Nick Cave (born 1959) has gained prominence for his "Soundsuits" series, initiated in the 1990s, which are wearable textile sculptures combining found objects, fabrics, and performance elements to explore identity and protection. These vibrant, full-body assemblages, such as those first created in response to the Rodney King incident, transform the wearer into a kinetic entity, blending sculpture, dance, and social critique in exhibitions at venues like the Seattle Art Museum. Similarly, Bisa Butler (born 1975) has elevated quilt portraiture in the 2010s by crafting large-scale, layered textile compositions that celebrate African American history and figures, using fabrics like kente cloth and vintage textiles for symbolic depth. Her portrait "Forever's Girl" (2018), depicting a young woman in a vibrant mosaic of patterns, reinterprets photography through quilting to highlight Black joy and resilience, earning acclaim in shows at the Art Institute of Chicago. Anya Paintsil (born 1993) is a rising British-Ghanaian textile artist recognized in 2025 for her embroidered portraits that explore Black female identity, migration, and intergenerational memory. Works like her 2024 series "Safeguarding Blue" use layered fabrics, beads, and stitching to address themes of protection and heritage, blending traditional African textile techniques with contemporary abstraction, and have been featured in exhibitions at institutions such as the Barbican Centre.^[174]

Sustainable and Technological Advances

In recent years, the textile industry has seen a revival in organic cotton production as a cornerstone of sustainable practices, with global cultivation expanding to over 106,000 hectares across key regions like India, Pakistan, and Türkiye in 2024, engaging more than 100,000 farmers.^[175] This growth, supported by initiatives like the Organic Cotton Accelerator, has resulted in 89,000 metric tonnes of seed cotton harvested, offering farmers premiums of €2,110 per hectare—8% higher than conventional methods—while reducing greenhouse gas emissions, water usage, and soil degradation through life cycle assessments in multiple Indian states.^[175] Such advancements prioritize regenerative agriculture, enhancing biodiversity and soil health without synthetic pesticides or fertilizers. Mycelium-based materials, often termed mushroom leather, have emerged since the 2010s as a biodegradable alternative to animal-derived leathers, produced by cultivating fungal biomass from species like Ganoderma and Pleurotus on organic substrates to form a flexible, interwoven hyphal network.^[176] These materials exhibit strong mechanical properties, antimicrobial qualities, and full biodegradability, decomposing into non-toxic components without the environmental burdens of tanning chemicals or livestock emissions associated with traditional leather.^[176] Commercial developments, including products from companies like Bolt Threads and MycoWorks, demonstrate carbon-neutral production scalable for fashion applications, reducing deforestation and pollution linked to animal agriculture.^[176] Zero-waste patterning techniques further advance sustainability by designing garments to utilize 100% of the fabric, eliminating cutting-room scraps that account for about 15% of textile waste in conventional production.^[177] Methods such as jigsaw-like pattern layouts, draping on mannequins, and fully fashioned 3D knitting ensure precise material use, conserving resources and lowering the demand for virgin fibers in apparel like shirts and skirts.^[177] This approach not only minimizes landfill contributions but also promotes creative design that integrates waste reduction from the outset. Biodegradable synthetics like polylactic acid (PLA), derived from corn starch through fermentation and polymerization, offer a renewable substitute for petroleum-based fibers, requiring 25–55% less fossil energy and emitting approximately 1,600 kg of CO₂ per metric ton—far below the 4,150 kg for PET equivalents.^[178] In textiles, PLA fibers enhance breathability and moisture-wicking in fabrics while fully decomposing into water and CO₂ under industrial composting conditions, supporting applications in nonwovens and apparel to curb plastic pollution.^[178] Reinforced with natural fibers like flax, PLA composites improve durability for sustainable products without compromising environmental gains.^[178] Technological integration has transformed textiles through smart e-textiles, which embed sensors and conductive elements into fabrics for interactive wearables, evolving since the early 2000s from rigid electronics to fully flexible systems using yarns coated with materials like silver or carbon nanotubes.^[179] These e-textiles enable health monitoring, such as electrocardiography via knitted sensor garments, and energy harvesting through piezoelectric fibers, with conductivity levels up to 6.0 × 10⁵ S/m in graphene-infused variants for responsive applications in fashion and soft robotics.^[179] Advances in scalable manufacturing, including 3D printing of conductive inks, have facilitated commercial products like sensor-embedded suits since 2000.^[179] Since 2015, 3D knitting machines have revolutionized production by creating seamless, three-dimensional structures directly on the loom, using digital scanning for bespoke garments that reduce material waste through precise, tailored patterning.^[180] Innovations like open-source platforms such as OpenKnit allow integration of high-strength fibers, sensors, and even light-emitting materials, enabling applications in medical prosthetics and sportswear while promoting local manufacturing to cut transportation emissions.^[180] This technology minimizes offcuts and supports customization, aligning with broader sustainability goals by optimizing resource efficiency. In 2025, 3D-printed textiles have gained traction as a zero-waste method, allowing for customized, intricate designs directly from digital models using bio-based filaments, reducing material use by up to 30% compared to traditional methods.^[181] Similarly, self-healing fabrics, incorporating microcapsules with healing agents triggered by damage, enable automatic repair of small tears, extending product lifespan and further minimizing environmental impact through reduced replacements.^[182] Despite these innovations, the fast fashion sector poses significant challenges, contributing 8–10% of global CO₂ emissions in the 2020s through high-volume production of synthetic fibers like polyester, with the fashion industry, heavily reliant on synthetic fibers like polyester, projected to account for emissions equivalent to over 550 million cars annually by 2030 trends.^[183] Textile manufacturing in coal-dependent regions exacerbates air and water pollution, with the industry expected to reach 26% of global emissions by 2050 if unchecked.^[183] To counter this, circular economy models in textiles emphasize designing for longevity, reuse, and regeneration, projecting a market value of USD 700 billion by 2030 through strategies like repair, resale, and material recycling.^[184] Principles include using renewable inputs and eliminating waste at source, as seen in initiatives like the Jeans Redesign project, which has produced over 1.5 million circular-designed pairs, reducing raw material volatility and environmental degradation.^[184] Platforms such as Patagonia's Worn Wear program, generating USD 5 million in resale revenue in 2023, exemplify how these models extend product lifecycles and foster economic resilience.^[184]

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Jan 1, 2015 · This chapter introduces two major regenerated cellulose fibers, viscose rayon and lyocell rayon, as well as cellulose-derived acetate fiber.
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The Ongoing History of Harm Caused and Hidden by the Viscose ...
Carbon disulfide use exploded in the early 20th century with the invention of the artificial silk viscose rayon. Production of this synthetic fiber was built ...
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Regenerated cellulose by the Lyocell process, a brief review of the ...
Mar 13, 2018 · Lyocell fiber has emerged as an important class of regenerated cellulose that is produced based on the N-methyl morpholine-N-oxide (NMMO) dissolution method.Missing: history | Show results with:history
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Properties, Production, and Recycling of Regenerated Cellulose ...
Viscose rayon, the oldest and most widely used regenerated cellulose fiber, is produced by dissolving cellulose in a solution of sodium hydroxide and carbon ...
[46]
3. Manufacturing: Materials and Processing | Polymer Science and ...
A polymer is first converted to a liquid through melting or dissolution, and the liquid is then continuously forced through a spinnerette (a plate with many of ...
[47]
Wallace Hume Carothers - MSU Chemistry - Michigan State University
... 1935 discovered nylon. The 6-6 polymer (from adipic acid and hexa-methylenediamine, each with 6 carbon atoms), the first commercial synthetic fiber ...Missing: invention | Show results with:invention
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Wallace Carothers - Lemelson-MIT
Carothers (1896-1937) made contributions to the theory of organic chemistry that led to the invention of polymeric materials.
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A Review on Synthetic Fibers for Polymer Matrix Composites - NIH
Jul 8, 2022 · However, because of its lower wrinkle resistance and higher price, polyester has replaced cotton in many garment products. Monomers, which are ...
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[PDF] Recommendations for Cleaning Garments and Textiles - CTAHR
... uses ... Polyester is a petroleum-based fiber that can be extruded into any form. Polyester is very easy to care for because it is durable and “wrinkle-resistant.Missing: properties | Show results with:properties
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Recent Advancements in Acrylic Fabric Applications - NIH
Acrylic fibres have shown wool-like characteristics, like being soft when handled, warm, and lustery [6]. They also have demonstrated minimal water absorption, ...Missing: mimic | Show results with:mimic
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Quality of Fine Yarns from Modacrylic/Polyacrylate/Lyocell Blends ...
Jun 14, 2023 · This research focuses on the suitability of affordable blends of 55 wt.% modacrylic, 15 wt.% polyacrylate, and 30 wt.% lyocell fibres that have the potential ...
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https://deepblue.lib.umich.edu/bitstream/handle/2027.42/199737/Michigan_Fibershed_MP.pdf
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From Fiber to Fabric: A Comprehensive Overview of Textile Processing
Sep 4, 2025 · This article provides a comprehensive overview of the fiber-to-fabric process, encompassing the critical stages of fiber production and ...
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Evaluation of cleaning and washing processes for cotton fiber
Various cleaning and washing processes were evaluated for reducing the bacterial and endotoxin content of cotton fiber. Studies were made on the cotton ...
[56]
[PDF] wool scouring
But the washing process is necessary to cleanse greasy fibres, and so the carding process, which disentangles these fibres and arranges them in a much more ...<|separator|>
[57]
Mechanically recycled textile fibers in carded and needle-punched ...
Dec 25, 2024 · The carding process is a web-formation process that involves the disentangling, mixing, cleaning, distribution, and layering of fibers to form ...
[58]
Optimizing Carding Speed Parameters and C-60 RSB Draft to ...
Apr 5, 2024 · The aim of carding process in spinning line is to produce uniform fiber slivers (with low deviation in mass per unit length) where the fibers ...
[59]
Overview of developments in yarn spinning technology - ScienceDirect
The drop spindle and distaff system was the principal spinning method for many thousands of years. It was a very versatile system since it could be used to spin ...
[60]
The earliest Near Eastern wooden spinning implements | Antiquity
Jul 19, 2016 · The first evidence for mechanical spinning aids is dated to the Neolithic, with the appearance of crude 'whorls', indicating that 'spindles' ...
[61]
Ring spinning – Knowledge and References - Taylor & Francis
Ring spinning is a textile manufacturing technique that involves spinning fibers such as cotton, flax, or wool to create yarn.
[62]
Yarn Ply, Counts and Treatments | CottonWorks™
Yarn Plying. All yarns are originally spun as single yarns, but for certain end uses, single yarns may be twisted together to produce a ply yarn.Missing: standards | Show results with:standards
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Textile Glossary: Yarns - Première Vision
Apr 2, 2024 · Tex is the universal unit of measurement and indicates the weight in grams of 1000 meters of yarn. · Denier indicates the weight in grams of 9000 ...
[64]
Spinning Jenny - The National Archives
Specification for James Hargreaves' Spinning Jenny, 1764 (C210/11). This was a multi-spindle spinning machine. It meant that a spinner could produce more ...
[65]
The Rise and Fall of the Spinning Jenny: Domestic Mechanisation in ...
Allen is right to argue that James Hargreaves' invention of the spinning jenny was an innovation associated with pressure in the market for spinning labour. Yet ...
[66]
Weaving - P2 InfoHouse
Fabrics are formed from weaving by interlacing one set of yarns with another set oriented crosswise. Satin, plain and twill weaves are the most commonly used ...
[67]
Structure | The George Washington University
Satin weave is characterized by warp yarns "floating" long distances over weft yarns before crossing under. Artists use satin weaves to accentuate the shiny ...
[68]
Weaving Patterns (U.S. National Park Service)
Aug 15, 2025 · A basic plain weave requires two harnesses, and there are two separate sheds. Every other warp thread is lifted, while the rest are lowered, ...Missing: techniques | Show results with:techniques
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[PDF] notes on weaving techniques
SATIN. The three basic weaves are Plain weave, Twill, and Satin. Satin is another fundamental weave. It is used in silk goods and called satin, in cotton ...
[70]
History and Construction | Smithsonian Institution
Twill is created by repetition of a regular ratio of warp and weft floats, usually 1:2, 1:3, or 2:4. Twill weave is identifiable by the diagonal orientation of ...Missing: techniques | Show results with:techniques
[71]
[PDF] Weaving | Carroll County Farm Museum
There are three basic weaving techniques – plain, satin and twill. The image below shows an example of plain weaving.
[72]
Backstrap Looms - Sam Noble Museum - The University of Oklahoma
Using the backstrap loom, a weaver can produce fabric with a plain weave. Most simply, this is an over-under-over-under pattern.
[73]
Backstrap loom | Smithsonian Institution
Aug 1, 2020 · Backstrap loom in 8 parts: warp beam, 2-part cloth beam (2 pieces that fit together), weaving sword, shed stick, shuttle/spool, and 2 loom ...<|separator|>
[74]
Tools and processes: producing cloth - Smarthistory
Pit Looms: Similar to frame looms, pit looms are situated closer to the ground with pedals inside a pit in which weavers can place their feet. Backstrap Looms: ...
[75]
[PDF] The Weaving Loom - Georgia CTAE
The loom was placed over a pit dug into the ground, so the weaver could sit on the edge of the pit and be on the same plane as the loom. Both the frame loom and ...<|separator|>
[76]
1801: Punched cards control Jacquard loom | The Storage Engine
In Lyon, France, Joseph Marie Jacquard (1752-1834) demonstrated in 1801 a loom that enabled unskilled workers to weave complex patterns in silk.
[77]
The Jacquard Loom: A Driver of the Industrial Revolution
The Jacquard Loom was the first loom that automatically created complex textile patterns. This led to the mass production of cloth with intricate designs.
[78]
Unraveling the Physics of Knitting - Georgia Institute of Technology
Jun 3, 2024 · Knitting transforms one-dimensional yarn into two-dimensional fabrics that are flexible, durable, and highly customizable in shape and ...
[79]
Structural Design of Textiles
Nonwoven interlacing techniques: knitting, crochet, netting, lace techniques. Plain weave or "Tabby" weave: Simple weave structure in which the weft passes over ...
[80]
All About Textiles | Index - MIT
Tufting directly creates pile by inserting loops through a primary material. Knitting can introduce pile either through dedicated mechanisms (e.g., in warp ...<|separator|>
[81]
[PDF] IS 1963 (2004): Methods for Determination of Threads per Unit ...
5.2.3 Calculate the number of warp and weft threads per centimetre or decimetre as the case may be by the following formula: n = -:. X 10 ( or 1GO )* where.
[82]
A Moiré Pattern-Based Thread Counter - AIP Publishing
Oct 1, 2017 · It is usually defined as the sum of the number of warp threads per inch (or cm) and the number of weft threads per inch. (It is sometimes ...Missing: calculation | Show results with:calculation<|control11|><|separator|>
[83]
[PDF] The Early History of Felt
Felting was practised in times of great antiquity both in Asia and Europe, but it was restricted to these two continents. It is noteworthy that it has always ...
[84]
[PDF] Full'ing. A process by which cloth made of a
Woven cloth exposed to the fulling or felting action is said to be milled. Repetition of the process con- stitutes it double-milled or treble-milled, ...Missing: history scholarly sources
[85]
A review of history, properties, classification, applications and ...
Jul 15, 2024 · This paper presents a comprehensive review on natural and synthetic dyes with particular focus on their history, properties, classification, extraction methods ...
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[PDF] How To Dye Cloth - Yale-New Haven Teachers Institute
The traditional colors are indigo blue, madder red and brown; secondary colors are produced by dyeing one color over another. The origin of block printing on ...
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[PDF] Resist Dyeing and Patterning - DiVA portal
Resist dyeing and patterning are techniques to decorate textiles by selectively dyeing areas using methods like folding, stencils, or resist materials. Batik ...Missing: sources | Show results with:sources
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[PDF] An Insight In To the Ikat Technology in India: Ancient To Modern Era
Jan 31, 2019 · In this technique, individual portions of yarn (warp or weft) are made to resist the dye by wrapping or covering.
[89]
Needlework Terminology: Surface Embroidery - NeedlenThread.com
Oct 8, 2016 · And then, a list of forms of surface embroidery is presented: appliqué, art needlework, crewel embroidery, cross stitch, goldwork, Jacobean ...
[90]
Goldwork Embroidery: A Beginner's Guide | School of Stitched Textiles
Jun 1, 2022 · Goldwork is a style of embroidery done using metal threads. Traditionally, gold 'threads' were created by beating gold into flat ribbon like threads which were ...
[91]
Basketry - Southeast Fiber Arts Alliance
Basketry—also known as basket weaving or basket making—is the art of shaping flexible materials into three-dimensional forms. It is one of the most widely ...
[92]
What is Netting? - PieceWork magazine
Dec 15, 2021 · Netting is the process of tying knots to create—you guessed it—a net. Net-making has been around since the Mesolithic period and used for ...
[93]
[PDF] ow Did They Make nd Use Tools? - CUNY
found at Pavlov, Czech Republic, dated to between. 25,000 and 27,000 years ago, in the form of impres- sions of textiles or flexible basketry on fired clay.Missing: BCE | Show results with:BCE
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(PDF) Evidence for a Stone Age fibre technology - Academia.edu
Textile imprints and impressions in clay ”Further indirect evidence for the use of twisted fibres dating to around 27,000 BP comes in the form of imprints ...Missing: BCE | Show results with:BCE
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Oldest-known fibers to be used by humans discovered
Sep 10, 2009 · A team of archaeologists and paleobiologists has discovered flax fibers that are more than 34000 years old, making them the oldest fibers ...Missing: 30000 BCE
[96]
The Origins of Weaving Project | Department of Archaeology
Aug 15, 2012 · This project contributes to the understanding of the origins of weaving, and its significance in assessing creativity in the Upper Palaeolithic.
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Neolithic culture
The main weaving fibres were flax and wool. The use of flax came earlier than that of wool and predominated during the Neolithic Period. Coarse textiles were ...
[98]
Empire of Cotton - Harappa
Dec 7, 2015 · Farmers in the Indus valley were the first to spin and weave cotton ... Cottonseeds founds at nearby Mehrgarh have been dated to 5000 BCE.
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(PDF) Linen in Ancient Egypt - ResearchGate
Egypt was famous through the Ancient Near East for both weaving linen cloth and the produced quantities. Cloth was sent as expensive gifts from one king to ...
[100]
Ancient Egyptian and Greek Looms - Project Gutenberg
Jun 8, 2008 · Ancient Egyptian and Greek Looms by H. Ling Roth (Keeper). With 38 line block and one collotype illustrations. Bankfield Museum, Halifax April 1913.
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Wool Economy in the Ancient Near East on JSTOR
In Early Bronze Age Mesopotamia, in the 3rd millennium BC, textiles were generally made of wool, while linen garments were mostly restricted to cultic use.Missing: tapestries | Show results with:tapestries
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Tyrian purple: The lost ancient pigment that was more valuable than ...
Nov 24, 2023 · For millennia, Tyrian purple was the most valuable colour on the planet. Then the recipe to make it was lost. By piecing together ancient ...Missing: trade toga Silk Road 200 BCE
[103]
The Roman Toga Brewminate: A Bold Blend of News and Ideas
Sep 19, 2019 · The toga was a garment worn by men who were citizens of Rome and which consisted of a single length of wool cloth cut in a semicircle and wrapped around the ...
[104]
Millennia of Murex - Saudi Aramco World
Later, the dye was known as “royal purple” or “imperial purple,” from the Roman and Byzantine emperors who reserved the color for members of the imperial family ...Missing: Classical BCE
[105]
Medieval Guilds – EH.net - Economic History Association
Medieval guilds were groups of individuals with common goals, including merchants and artisans, and were not part of established hierarchies.
[106]
Wool Trade Left Its Mark on Power and Architecture in Medieval ...
Jul 13, 2021 · The wool trade in Flanders influenced political, social, and economic relations, and led to new architecture like market squares and guild ...
[107]
gender in the medieval Flemish wool cloth industry (c. 1250–1384 ...
Oct 30, 2017 · Medieval Flemish wool cloth production was dominated by a small group of very wealthy men who did all they could to maximize their profits. And ...
[108]
Big Business for Firms and States: Silk Manufacturing in ...
Apr 30, 2020 · Silk manufacturing began in Lucca in the twelfth century and by the fifteenth century Italy had become the largest producer of silk textiles ...
[109]
[PDF] Islamic Art and Culture: a resource for teachers
Its makers and its patrons might be Muslim or not. In this packet we look at works that span nearly a thousand years—from shortly after the foundation of Islam ...
[110]
Antique Textile History
... Islamic Golden Age was the introduction of foot pedals to operate a loom. The first such devices appeared in Syria, Iran and Islamic parts of East Africa ...
[111]
Textiles in the colonial Andes - Smarthistory
Textiles were important in Inka culture, with the highest quality examples worth more than gold or any other luxury item.
[112]
[PDF] The textiles of Pre-Columbian Peru are well-known, especially in the ...
While cotton was developing in coastal regions a later parallel development of wool yarn occurred in the Peruvian Highlands: the llama and alpaca were ...
[113]
The Textile Industry in the British Industrial Revolution
Mar 1, 2023 · Production was greatly speeded up in 1733 when John Kay invented the flying shuttle, used to pull thread horizontally (weft) across ...Hargreaves' Spinning Jenny · Whitney's Cotton Gin · Howe's Sewing Machine
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This vision inspired the emergence of the Arts and Crafts movement in the 1860s. Morris's lectures and essays on art and his rediscovery of traditional craft ...
[116]
The Bauhaus, 1919–1933 - The Metropolitan Museum of Art
Oct 1, 2016 · The Bauhaus was founded in 1919 in the city of Weimar by German architect Walter Gropius (1883–1969). Its core objective was a radical concept.
[117]
Bauhaus Movement Overview | TheArtStory
Nov 21, 2010 · The Bauhaus aimed to reunite fine art and functional design, creating practical objects with the soul of artworks. Although the Bauhaus ...Bauhaus Building In Dessau... · Wall Hanging · Bauhaus: Concepts, Styles...
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Anni Albers | David Zwirner
After all, she had been making “pictorial weavings”—textiles designed expressly as art—since the late 1940s. ... weaving, as Albers had defined it, obsolete.Missing: Expressionism | Show results with:Expressionism
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Art Term Tuesday: Fiber Art - From the Fort Wayne Museum of Art
Aug 4, 2020 · The fiber arts regained momentum following World War II and the rise of the artist-craftsmen. In the 1950s, weavers bound fibers into ...
[120]
[PDF] The International Competitiveness of Asian Economies in the ...
The world textile and apparel industry has undergone several migrations of production since the 1950s and they all involve Asia. The first migration of the ...
[121]
[PDF] THE GLOBAL APPAREL VALUE CHAIN:
Japan in the 1950s and 1960s, the East Asian newly industrializing economies (NIEs) in the. 1970s and 1980s and China in the 1990s became world-class exporters.
[122]
Brief History of Fast Fashion (& Changing Its Future Course)
Apr 10, 2024 · Overall, we'd say that, although the actual term was first used in the 1990s, the concept of fast fashion started in the 1970s: outsourcing ...
[123]
What is a CAD System and Its Application in the Garment & Fashion ...
May 31, 2024 · The integration of CAD systems in fashion dates back to the 1980s ... CAD systems enable designers to experiment with different colors, patterns, ...
[124]
Is the future of fashion 3D printed? | by Wires Glasses - Medium
Nov 23, 2018 · The first 3D printed fashion piece, “Crystallization”, was sent down the runway in 2010 by Dutch designer Iris Van Herpen. Since the debut of ...<|control11|><|separator|>
[125]
How Do You Measure the Breathability (R.E.T.) of a Material?
Free delivery over $49 30-day returnsOct 13, 2021 · Breathability is measured using the Thermal Evaporative Resistance (RET) coefficient. It measures the capacity of a fabric to stop water vapor getting out.
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Domestic Textile - an overview | ScienceDirect Topics
Household textiles include all textiles used in domestic interiors apart from furnishing fabrics. For example: bedding, towels, blankets, tablecloths and ...
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Using Textiles for Filtration
Textiles are used in filtration to separate particles from fluids, especially solids from liquids, and can be used in both dry and wet filtration.Definition Filtration · What Are Filter Fabrics? · Dry Filtration
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Textile Market Size, Share & Growth | Industry Report, 2033
The global textile market size was estimated at USD 1.11 trillion in 2024 and is projected to reach USD 1.61 trillion by 2033, growing at a CAGR of 4.2% ...
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Garments and Apparel | United Nations University
May 1, 2024 · The garments and apparel sector accounts for roughly 2 per cent of global GDP. It employs approximately 60 to 70 million people, two thirds to three quarters ...
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Flammable Fabrics Act (FFA) | CPSC.gov
The standards were designed to protect children from small open-flame sources, such as matches, lighters, candles, fireplace embers, stoves, and space heaters.
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Waterproof, Windproof & Breathable | GORE-TEX Brand
All GORE-TEX Products provide totally windproof, breathable, and water-resistant to durably waterproof protection.
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Indonesian Batik | Silk Roads Programme - UNESCO
The techniques, symbolism and culture surrounding hand-dyed cotton and silk garments known as Indonesian Batik permeate the lives of Indonesians from beginning ...
[134]
Biomolecular Evidence of Silk from 8,500 Years Ago - PMC
Dec 12, 2016 · The direct biomolecular evidence reported here showed the existence of prehistoric silk fibroin, which was found in 8,500-year-old tombs. Rough ...
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Opulence Through the Ages: The History of Brocade - Schumacher
Nov 17, 2022 · The production of brocade began in ancient China, where cloth was found in tombs from the Warring States period, which dates from 475 to 221 BC.
[136]
Chinese brocade is intricate and stunning. Here's where to find the ...
Oct 3, 2023 · The earliest examples of Chinese brocade are from the Tang dynasty (A.D. 618-907). Regional varieties developed across the country, including in ...
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Beyond the Sinosphere in Early Japan: Nara and the Silk Roads
This brief essay will explore select aspects of Silk Roads culture in early Japan, a millennia before Japan's better-known assimilation of non-East Asian ...
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The story of the sari in India and beyond | National Geographic
Sep 24, 2020 · The first mention of saris (alternately spelled sarees) is in the Rig Veda, a Hindu book of hymns dating to 3,000 B.C.; draped garments show up ...
[139]
History Of Block Printing In India - Exploring Indian Textiles
May 15, 2019 · “The recorded history of block printed fabrics dates back to the Indus Valley civilisation, around 3500 to 1300 BC. From the Harappan period ...
[140]
Lessons of Khadi from a Century Ago | The India Forum
Oct 1, 2025 · In September 1925, Mahatma Gandhi founded the All-India Spinners Association, or Akhil Bharat Charkha Sangh, to carry out his agenda for khadi.
[141]
History Of Carpets - Sirang Talaee
Early history: circa 500 BC – 200 AD Persian carpets were first mentioned around 400 BC, by the Greek author Xenophon in his book "Anabasis": "αὖθις δὲ ...
[142]
History of a trend: Turkish kilim rugs and the meaning behind the ...
Kilim is a pileless, tapestry woven rug (or textile) with geometric designs in bright colors, traditionally originating in Anatolia, Turkey.
[143]
Indonesia - Maritime Silk Route Textile
Harmonic blend of spirituality and culture. The remarkable Silk Road and Spice Road brought along vital influence on the textiles and costumes in Indonesia. ...
[144]
The Economics of Cotton - OpenEd CUNY
Southern cotton, picked and processed by American slaves, helped fuel the nineteenth-century Industrial Revolution in both the United States and Great Britain.
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[PDF] The Columbian Exchange: A History of Disease, Food, and Ideas
The Columbian Exchange refers to the exchange of diseases, ideas, food crops, and populations between the New World and the Old World.
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Textile Production in Europe: Lace, 1600–1800
Oct 1, 2003 · During the sixteenth century, the technique of lacemaking was freed from a woven foundation, and became a fabric in its own right.
[147]
Kant in Vlaanderen VZW - UNESCO Intangible Cultural Heritage
The art of lacemaking is a valued craft with a long and important textile and social history. Starting simultaneously in Flanders and Italy in the early 16th C ...<|separator|>
[148]
Brief History of Tartan - The Scottish Tartans Museum and Heritage ...
In short, the colors and designs of the tartan varied greatly, and nothing like a “clan tartan” system had even been conceived of, let alone put into practice.
[149]
Haute Couture - The Metropolitan Museum of Art
Oct 1, 2004 · In the early years of the twentieth century, Paul Poiret took couture into an admittedly dangerous path of change, responding to Orientalist and ...Missing: fabrics | Show results with:fabrics
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37 - The Origins and Development of Haute Couture, 1858 to Now
The phenomenon of Parisian haute couture fascinated, inspired, and on occasion troubled nineteenth-century observers, who witnessed its evolution.
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[PDF] The Spanish Unraveling Of the Incan Empire:
invention of several highly portable and useful loom structures, primarily the backstrap loom and a unique type of vertical loom. The backstrap loom is ...
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Awareness and Activism | World Quilts: The American Story
They built charitable organizations and participated in causes such as abolition and temperance. Their participation in these arenas built upon women's role as ...
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[PDF] Volume 4 of the Research Papers of the American Quilt Study Group
There was a widely circulated series of antislavery designs on Wedgewood pottery that was imported from England. Adap- tations of the anti-slavery designs, ...
[155]
A Century of Design, Part II | The Metropolitan Museum of Art
By the mid 1930s, the severity and uncompromising utilitarianism of Bauhaus-inspired design was being challenged by a group of Scandinavian designers who ...
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[PDF] Swedish Fashion 1930–1960 - DiVA portal
Oct 5, 2017 · The aim of this thesis is to explore the development of Swedish fashion between 1930 and 1960 by examining the textile and clothing industry ...
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Kente History | Multicultural Affairs | Baylor University
Kente cloths came to represent the history, philosophy, ethics, and moral values of Ghanaian culture.
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[PDF] The art of kente: history, designs, and drafts - UNCOpen
May 1, 2011 · Kente, traditionally a West African ceremonial dress, is a narrow strip-woven cloth made by the Asante and Ewe peoples of Ghana and Togo.
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bogolanfini | Fashion History Timeline
Jun 15, 2022 · The mud cloth's symbolic designs convey a visual message that Bamana women learn about under the apprenticeship of their mothers. The Met notes ...
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[PDF] Women's Mud Cloth Skirt (Bogolanfini) - Loyola eCommons
May 2, 2025 · There is symbolism of life and death material, pattern of hunting, fishing, symbolism of fertility, functions of menstruation, hunting, marriage ...
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[PDF] KUBA - Fabric of an Empire - Scholars at Harvard
Feb 24, 2019 · Colonialism ends, and the Democratic. Republic of the Congo comes into being. This change has little effect on textile design in the kingdom ...
[162]
Module Eighteen, Activity Two - Exploring Africa
For the most part textiles were manufactured from fibers obtained from raffia palm. Cloth was the most durable possession in almost every household and as such ...
[163]
[PDF] Trade and interaction on the Eastern Cape frontier
Like the glass seed beads that defined trade in the Eastern Cape of South Africa, the wampum was a portable means of currency. Preferring the wampum to com ...Missing: beadwork textiles 16th
[164]
Revisiting Zulu Square Beaded Rope Necklaces - Academia.edu
This article explores advances in my understanding of a rare Zulu beading technique that produces square beaded ropes - meaning square tubes made of beads.
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Kapa - Ka Hana Noʻeau Hawaiʻi - Research Guides
Feb 19, 2025 · Barkcloth or tapa, a cloth made from the inner bark of trees, was widely used in place of woven cloth in the Pacific islands until the 19th ...Missing: fibers | Show results with:fibers
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Siapo - Tapa Cloths from Samoa - Museum of Anthropology
Siapo is a Samoan bark cloth painted with patterns of local flora and fauna, made from paper mulberry bark, and used for various purposes.Missing: beaten | Show results with:beaten<|separator|>
[167]
(PDF) Weaving the Skin - Academia.edu
The focus of this dissertation is in relation to the material culture of Māori and the significance of customary weaving practice in contemporary culture today.
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[PDF] Whatu: Weaving Māori Women Educators' Pedagogy
The Whatu metaphor was developed as a way of understanding the complexities of the Maˉori women's pedagogy and to show that the strength of that pedagogy is in.
[169]
[PDF] Cloth in Contemporary West Africa: A Symbiosis of Factory-made ...
Bogolanfini, the original version of mudcloth, has inspired fashionable contemporary designs, but it has also renewed interest in a long-standing textile ...
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[PDF] Threads of tradition: Exploring African art & design in contemporary ...
Jun 30, 2025 · Raffia is a natural fibre made from the raffia palm tree leaves, which thrives in. Madagascar and other tropical regions, like the Democratic ...
[171]
dashiki | Fashion History Timeline
Aug 4, 2022 · D ashikis are still commonly worn and recently had a revival in popularity according to Culture Trip: “Since 2012 to about 2016 when it peaked, ...
[172]
360°: Paradigms of Revival - Bryn Mawr College
We approach African arts--the sculptures, costumes, masks, textiles and other material cultural that comprise the majority of African art in western museums-- ...
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Organic Cotton Takes Centre Stage In Global Sustainability Shift
Aug 9, 2025 · The global textile industry is increasingly turning its focus to organic cotton as a critical component of sustainable production, ...
[174]
Fungal mycelium as leather alternative: A sustainable biogenic ...
Fungal leather alternatives have been found to possess significant mechanical and physical properties, thanks to the interwoven hyphal network of the fungal ...
[175]
Zero-waste Guide - Redress Design Award
Jul 5, 2022 · Zero-waste is a design technique that eliminates textile waste at the design stage. WhY do it? Approximately 15% of textiles intended for clothing ends up on ...
[176]
PLA based biocomposites for sustainable products: A review
This study observed that PLA-based composites are the most emerging materials that can replace existing non-biodegradable and non-renewable synthetic materials.Pla Based Biocomposites For... · 4. Pla-Based Composites · 4.2. Characterization Of...
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Smart E-Textiles: Overview of Components and Outlook - PMC
Raw materials, yarns, or fabrics can be made conductive, while sensors, actuators, and power components can be constructed by layering conductive fabrics [25].
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3D knitting: after 8000 years a new dimension in weaving and ...
Mar 8, 2015 · It is washable, fully repairable, and, although it is more than 8,000 years old, it is still one of our most innovative technologies. Before ...
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Fast Fashion and Emissions: What's the Link? | Earth.Org
Aug 23, 2024 · The fashion industry contributes to 10% of global carbon emissions annually, more than the emissions from international flights and maritime shipping combined.Missing: 2020s | Show results with:2020s
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Fashion and the circular economy - Ellen MacArthur Foundation
How the circular economy is transforming fashion - through circular design, reuse and circular business models for fashion.