Looking at the Patchwork prints I found African fabrics are a good example for Patchwork though its printed.
African Fabric (African Wax Prints)
African wax prints, Dutch wax prints or Ankara, are omnipresent and common materials for clothing in West Africa and Central Africa. They were introduced to West and Central Africans by Dutch merchants during the 19th century, who took inspiration from native Indonesian designs. They are industrially produced colorful cotton cloths with batik-inspired printing. One feature of these materials is the lack of difference in the color intensity of the front and back sides. The wax fabric can be sorted into categories of quality due to the processes of manufacturing.
The costly produced wax fabrics are increasingly imitated by alternative ways of manufacturing. The so-called "fancy fabrics" are produced in a printing procedure. Costly designs are printed digitally.
Fancy fabrics in general are cheap, industrially produced imitations of the wax prints and are based on industry print. Fancy fabrics are also called imi wax, Java print, roller print, le fancy or le légos. These fabrics are produced for mass consumption and stand for ephemerality and caducity. Fancy Fabrics are more intense and rich in colors than wax prints and are printed on only one side.
Presenting Hand Batik Printed Furnishings Fabric.
We Maria Overseas Introduce Ourselves as Manufacturers and Exporters of All kinds of Handloom, Saree, Dress Materials, Dupatta, Stoles, Fabric, Scarves, Textiles, Handicrafts, Home Decor, Home Textiles, Products from India.
How to convert old, much-cherished, Javanese and Balinese batik sarongs into something useful in this year of pandemia? Memories of favorite fabrics from the past re-purposed into well-made masks? Why not?
Dana Cooper, a Bermuda-based designer, suggested I call Pauline Lock at In Style USA in NYC's garment district. Pauline said, "Let's see what we can do...."
Most of the sarongs had a single tear where they'd received the most wear.
Plenty of material--including some from other non-Indonesian, non-batik fabric--to make enough masks for Christmas presents to extended family.
One of those old pieces was an almost 50-year-old George McGovern t-shirt that I'd embroidered while sailing from Hawai'i to Tahiti in 1971.
The three pieces on the left above are first layers of non-batik textile. The second piece from the right is the middle layer of DuPont Silvadur antimicrobial fabric, and the interior layer of fine soft cotton is on the right.
InDesign’s people measured and cut all the fabric and manufactured 58 masks over a couple of working days...
... and delivered them in time for close-to-Christmas mailing,....
and every one recalls memories from the past four decades.
what’s your favorite weird fact?
Dutch manufactures originally produced batik fabrics to be sold in the Indonesian market. The Dutch manufacturers were unable to compete with the Indonesian producers, as they failed to meet the quality standards of the market. They also could not complete monetarily due to Indonesia’s tariffs on European imports. The Dutch manufacturers began to sell the rejected good off in the Western and Central African markets, who loved the imperfections caused in the European dyeing process. Seeing a new opportunity, Dutch manufacturers began to incorporate “African tribal aesthetics” into their designs. The project was a success, and Dutch manufacturers remain more popular in African markets than African manufacturers even today. It was also adopted as a cultural symbol of African identity, within the Pan-African and Afrocentrism movements in the 1930s. Dutch Wax fabric simultaneously became a symbol for the post-colonial diaspora of, and for the reclamation of African heritage by Black Americans and Europeans.
I learned this while researching Yinka Shonibare’s art. He draws on this history in much of his work. I would encourage you to check it out - he’s one of my favourite artists.
How do you keep your world thematically consistent? Starting to have troubles implementing new ideas into my world in a way that is cohesive with the pre-existing structure I have
Tex: What’s your theme? If it’s set in Meiji-era Japan, to pick an example, you wouldn’t have cell phones, nor the people wearing togas (unless it was someone trying to be Extra™, especially since the Meiji-era occurred after Ancient Greece, and Europe-Japanese relations exist during this period - but I digress). Having a good handle on what your theme(s) is/are will naturally delineate boundaries for what type of ideas can even be implemented.
This is, unfortunately, where being good at research would be very helpful. Even if you’re not writing a historical whatsit novel, knowing the finer details of your source materials will guide you into ideas that are complementary to the ones you’ve already incorporated.
To continue the idea of a story set in Meiji-era Japan, knowing what details composed Japanese culture in general, but what historians define as “Meiji” (years, yes, but political events? Diplomatic ties with foreign powers? Inventions? Artistic movements?) is a strength rather than a weakness.
Meiji-era Japan saw their own Industrial Revolution, and with that came the dawn of the modern textile era. Cotton and particularly silk saw a sharp increase in production - and with automation comes more human capital available for invention. In this instance, that means a greater creativity in textile designs, especially since it was no longer restricted to locally-available quantities or time-restricted manufacturing methods.
As Japan adopted a mercantilist economic model during this era, that meant more exports - but what they were exporting weren’t raw goods, it was finished products. Remember that greater opportunity for creativity? This is where that came into play. Textiles, in this example, became another vehicle for art, and thus culture (this was Japan’s main export, something you can still see in many forms today).
Yūzen-dyed fabrics became popular in this era (The Japan Times). If we poke around a little, we can deconstruct this. Yūzen mimicked upper-class silk brocades by applying dyes with a stencil of rice paste, in a workaround of sumptuary laws - and also much cheaper than brocade!. It’s a resist-dyeing technique, too, of which there are several methods in Japan alone.
So what can we do with this information?
We have a source culture - Japan. We have a source era - late 1800s to early 1900s. We have a popular textile - silk. We have a popular method of decorating said textile - resist-dyeing with a rice paste.
All of these things are new avenues to find compatible ideas. We can progress yūzen fabric forward in time to the modern age, as it’s just a technique, and do things like… I don’t know, put Pikachu on a silk blouse. Both of these things are culturally Japanese. That’s one new idea.
The time period means we can look to other places during the same relative era. A Victorian hair wreath wouldn’t raise too many eyebrows, since it’s from the same time period, the UK and Japan had diplomatic relations (so a character’s knowledge of the custom could be bluffed), and Shintoism would provide a plausible reasoning for hair wreaths popped up without Victorian interaction - reinventing the wheel, so to speak. That’s a second new idea.
The textile medium opens up a great many things. Silk wallpaper is a thing, as are silk sutures (which would mean a jump in interior design and medical technologies, respectively). That’s the third and fourth new ideas.
The textile decoration method, though I’ve already discussed a particular usage of yūzen. Do you know what another similar method is? Batik. You stamp through the dye-resistant medium rather than leaving gaps to float dye to dye the fabric, but you could make up some intermediary points between the techniques to bridge the gap. What if some artisan discovered they could apply the rice paste and etch in designs, and then floated the fabric in dye? That’s a fifth idea.
By knowing the context of my example of a source material - Meiji-era Japan - and pulling something superficial from it - yūzen fabric - I’ve come up with five new ideas that are complementary to my sources:
Pikachu-decorated silk blouse
Yūzen-etched (rather than gap-leaving) designs
These are all consistent with my theme because they come from my theme, and only branch out by maybe one or two degrees in the variables I’ve described for each.
The question I have for you is this: are the themes that you’ve already picked complementary to each other? If your selection of themes have too much semantic distance between them, you’re going to struggle coming up with complementary ideas. In that case, figuring out which themes are your core ones, and which are your extraneous ones, will help you find new ideas when you set out to research the nuances of your core themes.
The Yorùbá masquerade dance costume on view in One: Egúngún is comprised of various fabrics, such as this “African print” or “wax print” fabric, as it is commonly referred throughout much of the world. That fabric was originally manufactured in the Netherlands, inspired by Javanese batiks. In Nigeria these textiles have various names such as “wax,” “hollandais,” or “ankara;” this particular “ABC” pattern is popular among consumers that value education. It provides an example of how fabric communicates social values in Yorùbá culture.
Posted by Noemi Diop
Vlisco BV, the Netherlands. Wax-Print Fabric (VL00017.019, known as “ABC” or “Alphabet”), ca 2018. Cotton, synthetic dye. Brooklyn Museum; Gift of Vlisco BV, the Netherlands, 2019.1.4. Provenance: Gift of Vlisco BV, the Netherlands, 2019
Earlier, there were conventional machines to handle tasks like embroidery as well as other hand work. This accustomed to take a long time and was lacking enough designs included. Now, the latest inventions in this industry are coming up with ripples in the textile sector. Garment cutting machines, hemming machines, knitting machines, over lock ones and embroidery ones happen to be modernised to accommodate varied interests in the customer. العماري للاقمشه If you plan to use banners to draw in more customers, first you need to determine which the targeted public is, what their preferences are and what locations they check out the most. Planning an advertising campaign offers quite a bit to do with determining costs, so that you should think about the available budget when scouting for the type of banner you would like. Many garment companies are actually going by natural means. Pure merit means they are ride high popularity. One can also see as relevant mix and match by many apparel manufacturers who blend better of the two worlds. Right choice of textile and expert stitching are primary to great apparels. Textile fabric design are not tied to apparels but are widely accepted after only home dcor. The furnishing market is also constantly seeking inspiration in the textile fabric design units. The use of vintage, period fabric designs has become popular again. The use of natural fabrics has had back the call to become tolerant towards the environment. The use of environmentally safe fashion and furnishings have become witnessing a blast at the. Some apparel manufacturing companies are already about the forefront to do business by doing this. Another thing that you can do while you are there's to consider what they have got displayed inside their textile museum. You may wonder what in the world a textile museum is for and if you're in Indonesia, you may have pointed out that they have the Batik style of dying their textiles. This is high art for the children and something glance at this Batik and you will probably discover why. So remember, cheap hotel Bali is the strategy to use if you wish to save more money for things that are far more fun. العماري للاقمشه There are conflicting opinions regarding if the Bayeux Tapestry was made, however the widely used choice is which it was probably approximately the 1070's. The tapestry provides not merely once scene in the famous battle of Hastings, but a tiny yet complete portion of history, depicting the Norman Conquest of England and even the battle in 1066 relating to the armies of William the Conqueror and King Harold.
Traditional Hand Batik Printed Fabric
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#scarf #scarves #stolesandscarves #stoles #fabric #textiles #sarees #dressmaterials #linen #cotton #ikkat #silk #Ghichasilk #tussarsilk #mulberrysilk #pashminasilk #tablelinen #kitchenlinens #bathlinen #bedlinen #homeinterior #hometextiles #mariaoverseas #export #import #handloom #handmade #handicrafts #handwoven #cushion
African Print Design
Planning and compiled by M. Kumakiri
Produced by H.Tomita, Novak Fashion
Seidea S.A., Osaka 1989, 217 pages
Color plates printed and bound by New Color Photograhic Printing
African wax prints, also known as Dutch wax prints, are omnipresent and common materials for clothing in Africa, especially West Africa. They are industrially produced, colorful cotton cloths with batik-inspired printing.One feature of these materials is the lack of difference in the color intensity of the front and back sides. The wax fabric can be sorted into categories of quality due to the processes of manufacturing.
Normally, the fabrics are sold in 12 yards as "full piece" or 6 yards as "half piece". The colors comply with the local preferences of the customers. Mainly clothing for celebrations is made out of these.
The wax prints are part of a nonverbal way of communication among African women, and hereby they carry their message out into the world. Some wax prints can be named after personalities, cities, building, sayings or occasions. The producer, name of the product and registration number of the design is printed on the selvage, protecting the design and allowing reading the quality of the fabric. The wax fabrics constitute capital goods for the African women. Therefore, they are collected depending on the financial possibilities.
Granola Girl Wardrobe Principles
Granola girls prioritize comfort over almost everything else. Loose trousers, carpenter jeans, lovingly broken-in t-shirts, shifts, sarongs, tunics, sundresses...clothing that flows around the body, and doesn’t constrict or dig in anywhere. It may not be “sexy”, but granola girls feel sexiest when they’re comfortable.
Natural fibers are key. Cottons, linens, wools, silks (usually raw silk), and THE granola girl fiber, hemp, are all you’ll find in her closet. Polyesters are just nasty: they don’t breathe, they make you sweat and they feel gross. Rayons and bamboos are better than acrylics, but the processes used in manufacturing them are pretty un-green.
Granola girls wear their favorites out, and the better a garment is made, the longer it lasts. Few things frustrate her more than a new linen t-shirt wearing out in just a few seasons. Holes in well-loved jeans, though, are ok because of the opportunities they present for whimsical, decorative mending and patches.
See “natural” and “durable”.
Granola girls love earth tones: browns, tans, greens and golds.
Granola girls also love batik, tie-dye, shibori, and more, in glowing jewel tones, indigos, emeralds, ruby, etc.
Nothing is less granola than slick, unnatural fabrics. Nubby cottons, crinkly linen, plush wool - all are highly prized for their natural appearance and soft feel.
Fabric of society
Words Emma Finamore; Photo Marcos Avlonitis
The bold, bright colours and beautiful, intricate batik patterns of wax print can be seen all over London, but they’re a visual symbol of somewhere else: Africa. From village to cotton field, from mill to market, a new film traces the story of how this fabric came to epitomise a whole continent – and it goes to some surprising places.
Peckham based composer Aiwan Obinyan, has just released ‘Wax Print’ – a documentary exploring this extraordinary material's relationship to Africa and its people, as well its journey. She wrote the film – as well as directing it, producing it, and even composing its soundtrack – after bering inspired by something her Nigerian grandmother said.
"I grew up with the prints,” she explains. “But when I heard my grandma call it 'Hollandaise'...and I was like, how is it Hollandaise? What does that mean? I noted it and got on with my life but then later I started making clothes and wanted to use that fabric, and thought it would be nice to show my customers where the fabric comes from and a bit of the history, and I thought it as going to be simple...but the more questions I asked the it just took me from one country to another, to different periods of time. For two years I traced the story." This took her and her camera to Ghana, Nigeria, the Netherlands, even to Manchester: "Wax print was made in Manchester for over 100 years, at ABC Wax, from 1908".
That’s because, despite being seen very much as ‘African’ fabric, wax print’s story is one of colonisation, international trade (including the slave trade) and industrialisation, across multiple nations, continents and cultures. During the Dutch colonisation of Indonesia in the 1800s, Dutch merchants and administrators became familiar with the nation’s batik technique. “They took it from Indonesia and figured if they could mechanise it, they could sell loads of it. It was originally a handmade print," explains Aiwan. The owners of textile factories in the Netherlands started developing machine printing processes which could imitate batik, hoping that the far cheaper machine-made imitations could outcompete the original batiks in the Indonesian market: creating the look of batik without the labour-intensive work required to make the real thing.
West Africans recruited between 1831 and 1872 from the Dutch Gold Coast to serve in the Dutch colonizing army in Indonesia would have seen these prints, and when retiring to Elmina, in modern Ghana, they may have provided an early market for the imitation batik. That’s one theory, but what we do know is that demand for the fabric grew in African ports and throughout West Africa, prompting Scottish, English, and Swiss manufacturers to follow the Dutch in producing and selling wax print.
The material quickly became a part of African apparel, and of society: women used the fabrics as a method of communication and expression, with certain patterns being used as a shared language, with widely understood meanings. It was soon also used for formal wear by leaders, diplomats, and the wealthy population.
Aiwan’s telling of this tale begins with her own story and relationship with the material. "Growing up in south east London, being bullied for being African - it wasn't cool to be African in the ‘90s - and wanting to hide my identity as much as possible,” she says. “And one of the most immediate, physical symbols of Africa is wax print. So you kind of wanted to push it to one side, and not be associated with it."
This has changed though, for her and many other people with African heritage – it’s now something to wear with pride. “I think it's being reclaimed by black people worldwide - in the diaspora and on the continent. It's being reinterpreted in terms of design, and it's being reclaimed as a symbol of Africa and African-ness. And something to be proud of."
Aiwan talks about how this resurgence means you can now get wax print earrings, glasses frames....pretty much anything you want. Part of the documentary is actually filmed at the Hub and Culture shop in Peckham, where customers can pick up everything from shoes, kimonos and capes, to handbags and head wraps – all in wax print, in every colour of the rainbow. Sales figures demonstrate the popularity of these products too. In Sub-Saharan Africa, wax print boasts an annual sales volume of 2.1 billion yards, with an average production cost of $2.6 billion and retail value of $4 billion. Ghana, to take one example, has an annual consumption of textiles about 130 million yards.
But it’s more than just a product to be bought and sold. "The film is kind of like the fabric,” explains Aiwan. “It's woven, it's many stranded. But the bottom line is about identity. It's definitely a statement. When someone's wearing wax print they're wearing it with intention. It's a statement: ' 'This is who I am.' The fact of the matter is that wax print is bold and vibrant and colourful, it stands out. So when you're wearing it - it's a statement."
These statements extend to places as well as people, as Aiwan discovered on her explorative journey. "So for instance in Congo their colourways are very bright, almost fluorescent pinks and yellows,” she says. “Whereas if you go over to Ghana the prints are a bit more muted, more burgundies and olive greens. And in Nigeria the prints are more strong yellows, strong oranges, really intense blues. And within Nigeria there are different colour ways for different parts of the country. So the colour way for Ibos over in the East is that blue with the orange, whereas the colour way for Yoruba would be different."
Another part of the wax print story that Aiwan unearthed was especially exciting: about a group of pioneering, formidable women called the ‘Nana Benz’, who played a key, pivotal role in the development of the wax print industry, operating during the 1930s to 1970s. "They were very, very powerful women who became millionaires during their time through trading in wax print - they were the gatekeepers,” explains Aiwan. “If they said it wouldn't sell, it wouldn’t sell. They were in touch with the local women so they knew what they liked, and they fed that back to the European merchants, who then made the cloth according to those specifications. They had economic power, political power, social power...they were so wealthy that they owned luxury cars like the Mercedes Benz - hence the name, Nana Benz. They owned so many of these cars that the government at the time, if they ran out of cars for local dignitaries, they would borrow cars from the Nana Benz.
“For me it was the most surprising thing [about making the film] - was the story of the Nana Benz, because I didn’t know it. I first got introduced to it at the Vlisco wax print factory [in Helmond, the Netherlands] and there was a picture there of an old African woman, and I asked somebody who it was and she said, 'That's a Nana Benz' - and she explained briefly who she was. And at first I thought it was specifically who she was - I thought Nana Benz was a single person, Then I did more research and realised it was this group of powerful women."
Aiwan’s research saw her talking to professors, reading books, and then a bit closer to home: "Then I made the connection between the Nana Benz and my grandma." Her grandmother ran a sewing school and tailoring business in Ekpoma in Edo State, Nigeria – an entrepreneur who ended up supplying custom clothes to surrounding businesses. "There's a picture in the film of my grandma in the most amazing outfit,” Aiwan remembers, “standing next to a bright red BMW sports car....she was a Nana Benz!
“I'm glad I went on that journey, and that I was given the honour and the privilege to be able to tell that story. I'm really glad that the stories of the women have been re-centred, and the story of wax print has been re-centred. Very often when people write about wax print it's almost anthropological, sort of analytical and academic. So I was happy to re-centre the story of the Nana Benz's and people like my grandma - without them you wouldn’t have wax print, that's the bottom line, there is no wax print. It became what it was because of them, and their collaboration with missionaries and traders."
This big story calls for a big audience, and this month Aiwan is taking her film on the road. Wax Print has been accepted into the Pan African Film Festival in Los Angeles, so Aiwan will be out there in February, then there’s an event with artist Yinka Shonibare MBE (whose work exploring cultural identity, colonialism and post-colonialism often features brightly coloured wax print) in Exeter, as well as at a wax print factory in the Netherlands, and screenings in Japan and Ghana - poignantly on Juneteenth Independence Day or Freedom Day, a celebration of the abolition of slavery in Texas and the emancipation of enslaved African Americans throughout the former Confederate States of America. "In the film I talk about how slavery was a big factor in wax print,” says Aiwan, “so it'll be nice to celebrate the abolition of slavery in Ghana where slaves were taken, while showing a film which is about our identity as a people."
If that wasn’t enough hard work, she’s just finished working on a play at the Young Vic Theatre – doing the sound for The Convert, a play written by Black Panther star Danai Gurira – and is currently working on a feature film in Nigeria called 'Nigeriana', following a young man’s struggle to engage in politics despite a corrupt system.
Like these projects, Wax Print is powered by Aiwan’s clear passion for storytelling, especially a tale that’s close to her heart. "It's hard work but I think it would be harder if it wasn't something I care about,” she explains. “I think it's important to work on things you truly believe in."