Skip to main content
Read page text
page 6
CONTENTS INDULGE textiles to buy, collect or simply admire 26 COTTON ON Natalie Chanin of Alabama Chanin and Billy Reid’s Cotton Harvest By Rinne Allen 42 HEAD START Retrieving, reviving and re-making Central American indigo Photographs by Mark Eden Schooley, styling by Nelson Sepulveda GLOBAL textiles from around the world 16 CONTINENTS, COMPOSITION & CHARISMA Photographer Anne Menke in Mexico 30 CHICKEN LINEN American feedsacks By Dr Vivienne Richmond 36 QUILTS OF FREEDOM African-American Quilts at Colonial Williamsburg By Linda Baumgarten 48 WEAVING A ROUTE THROUGH OAXACA With so many Mexican textiles to explore it can be hard to know where to begin... By Chris Jones and Palmira Serra ANECDOTE textiles that touch our lives 13 HOW TO Recreate this issue’s cover star in felt By Cynthia Treen 96 SWATCH Favourite Fabric no.31:Tana Lawn By Sarah Jane Downing, illustration by Nina Fuga ATTIRE critical reporting of fashion trends 14 COME AS YOU ARE The beauty of redefining dresscodes By Kate Cavendish 22 GREAT WHITE HUNTER Fashion’s obsession with the exotic By Dani Trew, images by Mario Testino and Norman Parkinson 64 UNIVERSAL UTILITY Carin Mansfield’s Invisible Permanent Clothing By Grace Warde-Aldam CONCEPT textiles in fine art 58 ARTISTS BLOCK The allure of block printing By Amelia Thorpe, photographs by Richard Nicholson 76 MOLAS Textile art of the Kuna of Panama By Chloë Sayer INDUSTRY from craft to commerce 52 MODERN ECCENTRIC Globetrotting with A Rum Fellow By Ptolemy Mann 57 DESIGN FILE The little-known Sheila Bownas By Grace Warde-Aldam COHABIT stunning interiors beautifully photographed 46 INTERIOR DIALOGUE El Camino’s woven textiles Photographs by Mark Eden Schooley, styling by Nelson Sepulveda 70 RAINBOW BRITE Pippa Small’s Command of Colour By Emily Wheeler CONTINENTS, COMPOSITION & CHARISMA Photographer Anne Menke in Mexico SELVEDGE 16 ink and ir t dress ikat silk organza p ite cotton long sh wh the great: , axaca O ir : ha pompom , inacantan Zscarf from , inacantan Zing dress from wedd jama pant ite organza pa wh silk textured shor t shor t sleeved dress Cream Rochas: , guerrero head dress from : ir s ha Pompom iapas, l Ch ios area San cristoba ind : lace Neck SELVEDGE 17 Page 22: Norman Parkinson, Winter Sunshine Wardrobe in India, Vogue 1956 Page 23: Norman Parkinson, Floating with Flowers, Vogue 1956 Opposite: Mario Testino, Trail Blazers (Daria Werbowy & Lily Donaldson), Vogue, 2008 They simultaneously present an outdated and orderly vision of a disintegrating empire, while also feeding aspirational dreams of leisure and surplus. imported goods, while being served by a black servant, “approaches a type of Britannia figure, an allegory of harmonious Empire.” Diana Vreeland’s directorship at American Vogue increased the production of such images. As Alberto Oliva and Norberto Angeletti describe, “she considered the magazine a vast stage, on whose pages a spectacular show was taking place. And the stage had to have suitable sets and props. To provide them, she thought up fashion production locations at the most exotic places.” While theatricality and imaginative play are key elements of fashion photography, as Paul Jobling claims, it would be “myopic” to argue that fashion spreads: or that “a world of unbridled fantasies” are “innocent or without deeper ideological signification.” Part of the underlying ‘ideological signification’ of these photos is that the ‘exotic’ and the fashionably expensive have always been linked.A cruder version of such images can be found on British ceramics, prints and textiles from the 18th century.They depict a white woman being accompanied or served by a black child. The V&A have gathered such instances, and describe the server being “depicted as a marginal, isolated figure who is included merely to reflect the wealth and fashionable tastes of their ‘owner’”. Similarly, an edition of The Spectator, from the same period, describes the clothes of a fashionable woman as the products of expanding imperial trade links. Her fan and muff are “from different ends of the earth”, her tippet “from beneath the pole”, and a diamond necklace “out of the bowels of Indostan”. As Erin Mackie puts it, the image of a fashionable woman dressed in and surrounded by Today, more often than not, these fashion shoots don’t centre on an explicitly colonial narrative (though, shockingly, some still do). Rather it’s often a jet-set, gap year or hippy trail narrative which comfortably displaces the guilt.These contemporary shoots exist in a difficult balance between two opposing forces in the western imagination. The first is the liberal, fair trade eating, ethnic scarf buying impulse, which believes it is on the side of the developing world: the other is the appetite for asserting cultural capital and authority. In Trailblazers, a Mario Testino spread shot in Peru for Vogue in 2008, the models are presented as gap year travellers, engaging with local Peruvians.Their sartorial sophistication, however, places them above the locals. In one image, the model Daria Werbowy walks toward the camera in front of a group of Peruvian women with llamas, the text reading “Standing out from the herd in the foothills of the Andes in tulle skirt and cotton dress by Nicole Farhi”. The Peruvian women have literally been reduced to a herd of animals. Does austerity, and fear of the diminishing power of the West, mean that we find comfort in asserting imaginative authority? Or is a nihilistic reduction of everything to props and sets just how the fashion system works? Whatever the reason, these shoots continually retreat into western self -congratulation, and mindlessly turn a history of brutality into a chic mise-en- scene that complements this season’s look perfectl y. ••• Dani Trew SELVEDGE 24 TITLE Sub head SELVEDGE 25 Below:Tied Quilt, made by Susana Allen Hunter (1912–2005), Dallas County,Alabama, 1970–1980 Below: Probably Anna Jane Parker (Mrs. Charles E. Parker), Log Cabin Quilt Top, probably St. Louis, Missouri, 1875-1900 SELVEDGE 38 available, from worn-out denim work clothes to synthetic curtains and dresses. Although her quilts were utilitarian, they display artistry as well, combining a practical recycling of old materials with an improvisational and creative spirit. Born in a rural area of Alabama, Susana Allen grew up in a large family of at least ten other children. She married a tenant farmer named Julius Hunter, in about 1928 and the couple raised two children, and their grandson, after his mother left to find work. Susana and Julius Hunter began their married life in Boykin, Dallas County,Alabama, but they had moved to Wilcox County by the 1950s. There they spent about 20 years as tenant farmers, occupying a two room house with newspaper stuck to the walls for insulation – and with handmade quilts spread on the beds for warmth. Judging from the sacks used as backings on the quilts, the Hunters bought sugar and animal feed by the hundred-pound bag. One of Susana Hunter’s most electrifying quilts combines remnants of used clothing, tied to the backing with brilliant red yarn with the long tails left on the front face. The ties are spaced evenly over the quilt, unifying the whole and carrying splashes of bold red into the patches of blue and grey.The greyblue diamond patterned textile was once a doubleknit polyester dress fashionable in the late 1960s and early 1970s. The garment’s shaping darts and skirt contour are still detectable upon close examination. To create the quilt’s cotton backing, Susana Hunter recycled sugar and flour sacks by cutting them apart and opening them out flat.Although she turned the labels to the inside, the Co , 2003 lison ia A liv f O ift o , G sburg Foundation illiam l W ia lon words are still visible under infrared lighting. Some African-American quilters worked in an entirely different style. A traditional Log Cabin quilt can be attributed to Anna Jane Parker of St. Louis, Missouri. Anna Jane Parker was born in North Carolina about 1841, but had married Charles E. Parker and was living as a free woman in St. Louis by 1860. According to Helen McWorter Simpson, to whom the quilt descended, her grandmother, Anna Jane Parker worked as a seamstress and “sewed beautifully”. Granddaughter Helen had opportunities to observe her grandmother’s craftsmanship first hand, because after being widowed, Anna Jane Parker lived with Helen and her parents, Edmonia Parker McWorter and John McWorter. . , 2012 f Jean and Jerr y Jackson ift o , G sburg Foundation illiam l W ia lon Co Anna Jane Parker assembled a colourful array of textiles – including patterned dress silks, upholstery fabrics, and ribbons – and combined them with black to create a stunning design of dark and light diamonds. To create a Log Cabin quilt, the maker works from the centre of a square out to the edges of each smaller unit, building up the design with carefully chosen rectangles of fabric that suggest the intersecting logs of the cabin. Unlike more typical piecing, in which shapes are stitched together at the edges to make the whole block, Log Cabin quilt pieces are assembled and stitched onto a foundation textile.This quilt maker was able to use a wide variety of everyday and mismatched cottons to form her foundation, because that element was eventually hidden by the decorative pieces. The quilt remains unfinished, without 4 SELVEDGE 39 HEAD START Retrieving, reviving and re-making Central American indigo Rosalie De Ory began the label, or rather treasure trove, Ixcasala Indigo Reborn more than 15 years ago, after travelling through Central America and long before indigo became a mainstay for the fashionable in Europe. She has since made numerous return trips from her native France, often spending months hunting down rare, antique and precious indigo fabrics in the Altiplanos, old family archives and in far away markets, pushing farther inland with every trip. Sometimes Rosalie leaves what she finds as it is, but often she works hard to work into and from found pieces to create something new and unmistakably hers. Working entirely on her own, Ixcasala is a labour of love. Often featuring constellations in her embroideries, stars somehow seem like the perfect design motif for Ixcasala; visually and dexterously drawing a link between the astronomical culture of Central America and the poetic sensibility of France. Furthermore each and every hand embroidered and labour intensive star speaks of Rosalie’s own commitment to her collections; from baby shoes to bed throws. Although Rosalie is completely dedicated to indigo from Central America, she also understands and appreciates indigo from elsewhere in the world and any indigo pieces that she collects from say Japan, India or Africa are generally for her own personal collection, although a few come up for grabs from time to time. In any case she likes to tell the tales of each piece and the stories of those who have handled them in the past. Having grown into quite an expert, Rosalie has also been involved in the Japanese Festival of dyers’ competition for Noren – the textiles traditionally hung from doors in Japan – and is currently the only ever non-Japanese judge. ley, ida and photographs Mark Eden Schoo lv Although working alone has its advantages; greater control and personal experience, it does mean that an Ixcasala shop is out of the question. The label operates through a website along with carefully picked fairs and events and of course, word of mouth. GW ••• Sty lson Sepe l ing Ne SELVEDGE 44 SELVEDGE 45 SELVEDGE 4
page 7
Globetrotting with A Rum Fellow MODERN ECCENTRIC SELVEDGE 52 SELVEDGE 66 RAINBOW BRITE Pippa Small’s Command of Colour SELVEDGE 78 It was intuition and serendipity that drew Dylan O’Shea and Caroline Lindsell to visit South America for the first time. They just had a feeling it was the right starting point from which to explore their shared love of textiles. That first trip to Peru and Bolivia triggered what was to become their textile company – A Rum Fellow. Deeply enamoured with the idea of an eccentric, old-fashioned British explorer this name seemed a perfect platform. “Rum” means odd, peculiar, strange and when partnered with a good old fellow (together symbolized by a passport stamp styled logo) the tone is set. In an extraordinarily short period they have evoked exactly what they hoped – overseen the production of exquisitely hand-dyed and hand-woven textiles made in South America and presented them styled in a distinctly British way. Formally launched in January 2014 and first revealed at Clerkenwell Design Week in May that year, they seem to have tapped into something we can all relate to. Travelling often leads to bringing home fabrics but not everyone knows what to do with them afterwards. A Rum Fellow have struck a delicate balance between historic and modern, and highlighted socially responsible production in a glorious celebration of craftsmanship. With their backgrounds in the fashion industry and development studies this makes perfect sense: it feels like theirs was a real meeting of minds.They are devoted to the idea of a family business and now, with their 4 SELVEDGE 53 TITLE Sub head SELVEDGE 67 SELVEDGE 67 “Like floating on the inside of a rainbow” is how Pippa Small describes her London home. The jeweller has decorated her two bedroom modern apartment in a palette of jewel-bright colours. Pippa, who along with her own eponymous label has produced jewellery collections for Tom Ford at Gucci, Phoebe Philo at Chloe and Nicole Farhi, divides her time between her life-long passion for anthropology, and designing her collections. Her home is a reflection of her love for indigenous cultures and the colours they use in traditional crafts. Pippa has worked alongside communities such as the San Bushmen of the Kalahari and the Kuna in Panama, helping them research their traditional designs to develop self sufficiency and is known for her ethical approach to work. Her colourful home is filled with treasures collected on her travels around the globe and is a constant source of inspiration. Pippa fell in love with the flat because of its sense of space and immediately set about introducing colour to the white walls and bachelor pad-style kitchen. Working with her good friend, the painter Gail Arnold, she removed black countertops and cupboard doors, painting them instead a bright turquoise, created a new counter out of wood and painted the walls with countless coats of natural lime. “It was a joy to sit and dream up colours,” recalls Pippa. “We looked through books of miniature Indian paintings, plant books and at my collection of old textiles to find colours that inspired.” A carpenter made a bespoke shelving unit to house Pippa's collection of toys from around the globe as well as a 4 printed in bright colours; a similar scarf covers the head or shoulders. Kuna women also wrap long strands of glass beads round their arms and legs to form wide bands, and use black paint to draw narrow lines down their noses. Large gold earrings and a nose-ring complete this dazzling ensemble. During the first decades of the twentieth century, the Panamanian government tried to suppress many Kuna customs, including the wearing of traditional dress. This was bitterly resisted, culminating in a short-lived yet successful revolt in 1925. Kuna autonomy and identity are therefore symbolized by the Mola blouse, which remains a sign of political and cultural independence. According to Kuna ideology, everything in the universe comes in pairs. Men and women are similar because both are human, but different because they are male and female. This principle, termed acala, applies to the two panels that decorate each blouse. They are similar, but never identical. become even more colourful. Edges are turned under and neatly stitched.With some Molas, lines of embroidery and small pieces of coloured cloth may be added to the top layer. Finished panels are combined with short sleeves and a yoke. Some designs – probably the oldest – are abstract or geometric. Others include stylized versions of the natural world or scenes from daily life. In recent decades, advertising and comic books have provided further inspiration. Few non-western textiles are as personalised or as richly expressive as the Molas of the Kuna, who have held on to their culture so tenaciously. Yet it would be a mistake to regard them as isolated traditionalists. As their evolving designs show, the Kuna are aware of global trends. Throughout their history, they have also shown themselves to be resilient and adaptable. Now they face a new challenge: rising sea levels, bought about by climate change, will eventually force many island communities to relocate to the mainland. Mola panels incorporate between two and seven layers of cloth, and it can take several weeks to finish a complicated blouse. When it comes to the art of appliqué, few can rival the Kuna whose technical prowess is matched by their love of pure form and colour. Makers are usually, but not exclusively, women. Some draw their designs on the top layer, but others require no such guidance. Larger shapes are generally cut from the top piece; smaller shapes are cut from the layers beneath. When additional pieces of fabric are positioned between these layers, designs In 2014, when I visited the densely-populated island of Gardi Sugdub residents talked sadly about abandoning their homes for the safety of dry land. Yet they created a dazzling show of Molas, displayed in the crowded alleyways that separate family compounds. When a Kuna woman offered to wrap long strands of glass beads around my wrists, I agreed – and left them until the threads frayed to oblivion.Travellers hoping to visit the Kuna in their island homes should go soon, before rising sea-levels rob them of their chosen habitat. ••• Chloë Sayer SELVEDGE 79 EVENTS dates for your diary BEHIND THE CUPBOARD DOOR 18 June 10-12.30pm or 2-4.30pm Look inside the archives of The Royal School of Needlework, with our host Dr Susan Kay-Williams SHIBORI WITH CALLISHIBORI 13-20 August Enjoy the magic of Shibori indigo dyeing with Jane Callender and Denise Lambert At Chateau Dumas, France BLOCK PRINTING WITH TOBIAS & THE ANGEL One day course,Tue 12 July, Fri 22 July, Sat 30 July, Spend the day mixing dyes, printing cloth, and practicing simple techniques with Angel’s 200 printing blocks in her charming studio in Lingfield, Surrey. All courses run from 10am-5pm WIN gifts and offers for our readers 83 PRIZES THIS ISSUE A chance to win a traditionally woven Peony Rug from Gudrun Sjödén, worth £348. www.gudrunsjoden.com We have a year’s subscription to seasonal, monthly flower deliveries from Bloom & Wild, worth £195 www.bloomandwild.com Ten pairs of tickets to the MISSONI ART COLOUR exhibition at the Fashion & Textile museum, each worth £9.90 www.ftmlondon.org INFORM the latest news, reviews and exhibition listings 03 BIAS /CONTRIBUTORS A letter from the founder, Polly Leonard and comments from our contributors 07 NEWS Black Horse Lane Atelier, Abeer Seikaly’s modern tents, The new textile gallery at The National Museum Scotland, Maybe bags, Mungo textiles, Finnair’s Marimekko makeover, The Festival of Quilts 09 HOUSE OF CLOTH Japanese Cotton Prints 80 SUBSCRIPTION OFFERS This issue every three year subscriber will recieve a Matta Dupatta shawl, worth £133 82 BACK ISSUES Complete your collection while you still can! Many issues are now sold out or have limited stock. All issues available for digital download. 84 READ Black Dolls from the collection of Deborah Neff, ed Frank Maresca, reviewed by Martin Myrone. Unconventional & Unexpected: American Quilts Below the Radar 1950-2000 by Roderick Kiracofe, reviewed by Dr Sue Marks 86 VIEW Ties That Bind – World Ikat Textiles at the Brunei Gallery, SOAS, reviewed by Rosie Gibson, Sheila Hicks: Material Voices at Joslyn Art Museum previewed by Karin Campbell, Reigning Men at LACMA, reviewed by Chloe Chapin, Pauline Burbridge at The Ruthin Craft Centre, reviewed by Tim Parry-Williams 95 COMING NEXT The Green Issue: Seasonal textiles to be proud of. SELVEDGE ('selnid 3 ) n. 1. finished differently 2. the non-fraying edge of a length of woven fabric. [: from SELF + EDGE] SELVEDGE 5

Globetrotting with A Rum Fellow MODERN ECCENTRIC

SELVEDGE 52

SELVEDGE 66

RAINBOW BRITE Pippa Small’s Command of Colour

SELVEDGE 78

It was intuition and serendipity that drew Dylan O’Shea and Caroline Lindsell to visit South America for the first time. They just had a feeling it was the right starting point from which to explore their shared love of textiles. That first trip to Peru and Bolivia triggered what was to become their textile company – A Rum Fellow. Deeply enamoured with the idea of an eccentric, old-fashioned British explorer this name seemed a perfect platform. “Rum” means odd, peculiar, strange and when partnered with a good old fellow (together symbolized by a passport stamp styled logo) the tone is set.

In an extraordinarily short period they have evoked exactly what they hoped – overseen the production of exquisitely hand-dyed and hand-woven textiles made in South America and presented them styled in a distinctly British way. Formally launched in January 2014 and first revealed at Clerkenwell Design Week in May that year, they seem to have tapped into something we can all relate to. Travelling often leads to bringing home fabrics but not everyone knows what to do with them afterwards. A Rum Fellow have struck a delicate balance between historic and modern, and highlighted socially responsible production in a glorious celebration of craftsmanship. With their backgrounds in the fashion industry and development studies this makes perfect sense: it feels like theirs was a real meeting of minds.They are devoted to the idea of a family business and now, with their 4

SELVEDGE 53

TITLE Sub head

SELVEDGE 67

SELVEDGE 67

“Like floating on the inside of a rainbow” is how Pippa Small describes her London home. The jeweller has decorated her two bedroom modern apartment in a palette of jewel-bright colours. Pippa, who along with her own eponymous label has produced jewellery collections for Tom Ford at Gucci, Phoebe Philo at Chloe and Nicole Farhi, divides her time between her life-long passion for anthropology, and designing her collections.

Her home is a reflection of her love for indigenous cultures and the colours they use in traditional crafts. Pippa has worked alongside communities such as the San Bushmen of the Kalahari and the Kuna in Panama, helping them research their traditional designs to develop self sufficiency and is known for her ethical approach to work. Her colourful home is filled with treasures collected on her travels around the globe and is a constant source of inspiration.

Pippa fell in love with the flat because of its sense of space and immediately set about introducing colour to the white walls and bachelor pad-style kitchen. Working with her good friend, the painter Gail Arnold, she removed black countertops and cupboard doors, painting them instead a bright turquoise, created a new counter out of wood and painted the walls with countless coats of natural lime. “It was a joy to sit and dream up colours,” recalls Pippa. “We looked through books of miniature Indian paintings, plant books and at my collection of old textiles to find colours that inspired.” A carpenter made a bespoke shelving unit to house Pippa's collection of toys from around the globe as well as a 4

printed in bright colours; a similar scarf covers the head or shoulders. Kuna women also wrap long strands of glass beads round their arms and legs to form wide bands, and use black paint to draw narrow lines down their noses. Large gold earrings and a nose-ring complete this dazzling ensemble.

During the first decades of the twentieth century, the Panamanian government tried to suppress many Kuna customs, including the wearing of traditional dress. This was bitterly resisted, culminating in a short-lived yet successful revolt in 1925. Kuna autonomy and identity are therefore symbolized by the Mola blouse, which remains a sign of political and cultural independence. According to Kuna ideology, everything in the universe comes in pairs. Men and women are similar because both are human, but different because they are male and female. This principle, termed acala, applies to the two panels that decorate each blouse. They are similar, but never identical.

become even more colourful. Edges are turned under and neatly stitched.With some Molas, lines of embroidery and small pieces of coloured cloth may be added to the top layer. Finished panels are combined with short sleeves and a yoke. Some designs – probably the oldest – are abstract or geometric. Others include stylized versions of the natural world or scenes from daily life. In recent decades, advertising and comic books have provided further inspiration.

Few non-western textiles are as personalised or as richly expressive as the Molas of the Kuna, who have held on to their culture so tenaciously. Yet it would be a mistake to regard them as isolated traditionalists. As their evolving designs show, the Kuna are aware of global trends. Throughout their history, they have also shown themselves to be resilient and adaptable. Now they face a new challenge: rising sea levels, bought about by climate change, will eventually force many island communities to relocate to the mainland.

Mola panels incorporate between two and seven layers of cloth, and it can take several weeks to finish a complicated blouse. When it comes to the art of appliqué, few can rival the Kuna whose technical prowess is matched by their love of pure form and colour. Makers are usually, but not exclusively, women. Some draw their designs on the top layer, but others require no such guidance. Larger shapes are generally cut from the top piece; smaller shapes are cut from the layers beneath. When additional pieces of fabric are positioned between these layers, designs

In 2014, when I visited the densely-populated island of Gardi Sugdub residents talked sadly about abandoning their homes for the safety of dry land. Yet they created a dazzling show of Molas, displayed in the crowded alleyways that separate family compounds. When a Kuna woman offered to wrap long strands of glass beads around my wrists, I agreed – and left them until the threads frayed to oblivion.Travellers hoping to visit the Kuna in their island homes should go soon, before rising sea-levels rob them of their chosen habitat. ••• Chloë Sayer

SELVEDGE 79

EVENTS dates for your diary BEHIND THE CUPBOARD DOOR 18 June 10-12.30pm or 2-4.30pm Look inside the archives of The Royal School of Needlework, with our host Dr Susan Kay-Williams SHIBORI WITH CALLISHIBORI 13-20 August Enjoy the magic of Shibori indigo dyeing with Jane Callender and Denise Lambert At Chateau Dumas, France BLOCK PRINTING WITH TOBIAS & THE ANGEL One day course,Tue 12 July, Fri 22 July, Sat 30 July, Spend the day mixing dyes, printing cloth, and practicing simple techniques with Angel’s 200 printing blocks in her charming studio in Lingfield, Surrey. All courses run from 10am-5pm

WIN gifts and offers for our readers 83 PRIZES THIS ISSUE A chance to win a traditionally woven Peony Rug from Gudrun Sjödén, worth £348. www.gudrunsjoden.com We have a year’s subscription to seasonal, monthly flower deliveries from Bloom & Wild, worth £195 www.bloomandwild.com Ten pairs of tickets to the MISSONI ART COLOUR exhibition at the Fashion & Textile museum, each worth £9.90 www.ftmlondon.org

INFORM the latest news, reviews and exhibition listings

03 BIAS /CONTRIBUTORS A letter from the founder, Polly Leonard and comments from our contributors 07 NEWS Black Horse Lane Atelier, Abeer Seikaly’s modern tents, The new textile gallery at The National Museum Scotland, Maybe bags, Mungo textiles, Finnair’s Marimekko makeover, The Festival of Quilts 09 HOUSE OF CLOTH Japanese Cotton Prints 80 SUBSCRIPTION OFFERS This issue every three year subscriber will recieve a Matta Dupatta shawl, worth £133 82 BACK ISSUES Complete your collection while you still can! Many issues are now sold out or have limited stock. All issues available for digital download. 84 READ Black Dolls from the collection of Deborah Neff, ed Frank Maresca, reviewed by Martin Myrone. Unconventional & Unexpected: American Quilts Below the Radar 1950-2000 by Roderick Kiracofe, reviewed by Dr Sue Marks 86 VIEW Ties That Bind – World Ikat Textiles at the Brunei Gallery, SOAS, reviewed by Rosie Gibson, Sheila Hicks: Material Voices at Joslyn Art Museum previewed by Karin Campbell, Reigning Men at LACMA, reviewed by Chloe Chapin, Pauline Burbridge at The Ruthin Craft Centre, reviewed by Tim Parry-Williams 95 COMING NEXT The Green Issue: Seasonal textiles to be proud of.

SELVEDGE ('selnid 3 ) n. 1. finished differently 2. the non-fraying edge of a length of woven fabric. [: from SELF + EDGE]

SELVEDGE 5

My Bookmarks


Skip to main content