Peak textiles - Feb 12
by Staff
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...Vegetable, animal and mineral all colouring for cloth, for the buildings of Europe and the world, and, of course, the artist’s canvas. That was until the discovery of aniline colours in coal tar (1856) and the growth of the chemically-constructed synthetic dyes that colour our world of today. (A look for “aniline” in the dictionary reveals that it is an “oily, poisonous liquid amine obtained from nitrobenzene and used to make dyes and plastics and medicines”!) In one generation the ‘know-how’ of hundreds of years was under threat and in some countries has been lost forever. Thanks to a few dedicated institutions, courses and studies such as our International Shibori Symposium, this ‘know-how’ and fascination with the magic of the colours of nature is returning. (In September 2008 I attended the WEFT - World Eco Fibres and Textiles - forum in Kuching, Sarawak, Malaysia, the aim of which is to conserve and encourage the use of natural, sustainable material in the creation of arts and crafts, and to promote knowledge on the use of natural fibres and dye. That was where the Nga ceremony at Rumah Garie fitted into my study of natural dyes.) The challenges are not specific to Europe.
You'll find Slow Fashion on the gritty north side of Burlington, Vt., where men and women working on rented sewing machines make customized garments out of discarded clothes and fabrics. And in the fashion design studios of San Francisco, where "green" is the buzzword and high fashion is spun from recycled and organic materials. It also comes to the US from Bolivian villages high in the Andes mountains, where women knit sweaters made from the coats of free-range alpaca herds. |
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