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The story of tweed is tied to a series of social, economic and cultural shifts that have molded its development. This book considers the historical factors that helped to shape the design characteristics and social meanings of the group of fabrics that we call tweed, from their emergence in the 1820s to the present day. Including significant new research on tweeds, from Harris Tweed to the type used by Chanel, this book follows the history of these fabrics from the raw fiber to the finished garment in men's and women's fashion. Exploring rural and urban contexts, this book reveals the important physical and conceptual relationships of tweed with landscape. Anderson shows that, contrary to their strong popular associations with tradition, tweeds emerged in the Romantic era as a response to the dramatic changes associated with industrialization and urbanization. Progressive changes in gender relations are also explored as a major factor in tweed's evolution, from associations with particular ideals of masculinity into what is now a truly adaptable fashion textile worn by both sexes. This is the first book of its kind to recognize the importance of tweed to fashion innovation today.

This is the first book to describe the early English woollens’ industry and its dominance of the trade in quality cloth across Europe by the mid-sixteenth century, as English trade was transformed from dependence on wool to value-added woollen cloth. It compares English and continental draperies, weighs the advantages of urban and rural production, and examines both quality and coarse cloths. Rural clothiers who made broadcloth to a consistent high quality at relatively low cost, Merchant Adventurers who enjoyed a trade monopoly with the Low Countries, and Antwerp’s artisans who finished cloth to customers’ needs all eventually combined to make English woollens unbeatable on the continent.

The wool trade was undoubtedly one of the most important elements of the British economy throughout the medieval period - even the seat occupied by the speaker of the House of lords rests on a woolsack. In The Wealth of England Susan Rose brings together the social, economic and political strands in the development of the wool trade and show how and why it became so important. The author looks at the lives of prominent wool-men; gentry who based their wealth on producing this commodity like the Stonors in the Chilterns, canny middlemen who rose to prominence in the City of London like Nicholas Brembre and Richard (Dick) Whittington, and men who acquired wealth and influence like William de la Pole of Hull. She examines how the wealth made by these and other wool-men transformed the appearance of the leading centres of the trade with magnificent churches and other buildings. The export of wool also gave England links with Italian trading cities at the very time that the Renaissance was transforming cultural life. The complex operation of the trade is also explained with the role of the Staple at Calais to the fore leading to a discussion on the way the policy of English kings, especially in the fourteenth century, was heavily influenced by trade in this one commodity. No other book has treated this subject holistically with its influence on the course of English history made plain. Susan Rose presents a fascinating new exposition on the role of the wool trade in the economy and political history of medieval England. She shows how this simple product created wealth and status among men of hugely varying backgrounds, transformed market towns both economically and in architectural terms and contributed to fundamental social and cultural changes through trading links with Italy and other European countries at the height of the Renaissance

This volume focuses on four cultural phenomena in the Roman world of the late Republic - the garden, a garden painting, tapestry, and the domestic caged bird. They accept or reject a categorisation as art in varying degrees, but they show considerable overlaps in the ways in which they impinge on social space. The study looks, therefore, at the borderlines between things that variously might or might not seem to be art forms. It looks at boundaries in another sense too. Boundaries between different social modes and contexts are embodied and represented in the garden and paintings of gardens, reinforced by the domestic use of decorative textile work, and replicated in the bird cage. The boundaries thus thematised map on to broader boundaries in the Roman house, city, and wider world, becoming part of the framework of the citizen's cognitive development and individual and civic identities. Frederick Jones presents a novel analysis that uses the perspective of cognitive development in relation to how elements of domestic and urban visual culture and the broader world map on to each other. His study for the first time understands the domestic caged bird as a cultural object and uniquely brings together four disparate cases under the umbrella of 'art'.

The Winterthur Museum’s richly illustrated history of British and American fabrics made or used from 1700–1850 is a visual reference for designers and a definitive contribution to textile studies. From slipcovers that belonged to George Washington, to bedhangings described by Harriet Beecher Stowe, Delaware’s Winterthur Museum holds some of the finest cotton and linen textiles made or used in America and Britain between 1700 and 1850. One of the fastest growing and potentially most lucrative trades in the eighteenth and early nineteenth centuries, on the forefront of developments in science and engineering, chemistry and technology, the textile industry is a fascinating lens into international trade relations and cultural exchange over nearly two centuries. Printed Textiles is a major update to the classic text published by Winterthur in 1970—a sourcebook compiled by celebrated curator Florence Montgomery that detailed all aspects of the fabrics’ lifespan, from their design and method of manufacture to their use and exchange value. Linda Eaton, Director of Collections and Senior Curator of Textiles, updates the classic with a particular focus on furnishing fabrics—referred to as “furnitures.” Building on research that has come to light since 1970 and benefiting from the technical and scientific expertise of the conservators and scientists at Winterthur, Eaton presents a thorough and sweeping study enriched by the diverse approaches to material culture today. With hundreds of beautifully photographed samples—engagingly contextualized with iconic figures in American history including Betsy Ross and Benjamin Franklin—this significant addition to textile scholarship allows for a full appreciation of these fascinating fabrics. Printed Textiles is destined to become an essential reference for interior designers, fashion and textile design students, conservators, collectors, and anyone with an interest in the textile industry.

Medieval Douai was one of the wealthiest cloth towns of Flanders, and it left an enormous archive documenting the personal financial affairs of its citizens—wills, marriage agreements, business contracts, and records of court disputes over property rights of all kinds. Based on extensive research in this archive, this book reveals how these documents were produced in a centuries-long effort to regulate—and ultimately to redefine—property and gender relations. At the center of the transformation was a shift from a marital property regime based on custom to one based on contract. In the former, a widow typically inherited her husband's property; in the latter, she shared it with or simply held it for his family or offspring. Howell asks why the law changed as it did and assesses the law's effects on both social and gender meanings but she insists that the reform did not originate in general dissatisfaction with custom or a desire to disempower widows. Instead, it was born in a complex economic, social and cultural history during which Douaisiens gradually came to think about both property and gender in new ways.