Portal:Clothing

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The Clothing Portal

A garment factory in Bangladesh

Clothing (also known as clothes, garments, dress, apparel, or attire) is any item worn on the body. Typically, clothing is made of fabrics or textiles, but over time it has included garments made from animal skin and other thin sheets of materials and natural products found in the environment, put together. The wearing of clothing is mostly restricted to human beings and is a feature of all human societies. The amount and type of clothing worn depends on gender, body type, social factors, and geographic considerations. Garments cover the body, footwear covers the feet, gloves cover the hands, while hats and headgear cover the head, and underwear covers the private parts.

Clothing has significant social factors as well. Wearing clothes is a variable social norm. It may connote modesty. Being deprived of clothing in front of others may be embarrassing. In many parts of the world, not wearing clothes in public so that genitals, breast, or buttocks are visible could be considered indecent exposure. Pubic area or genital coverage is the most frequently encountered minimum found cross-culturally and regardless of climate, implying social convention as the basis of customs. Clothing also may be used to communicate social status, wealth, group identity, and individualism. (Full article...)

Textile is an umbrella term that includes various fiber-based materials, including fibers, yarns, filaments, threads, different fabric types, etc. At first, the word "textiles" only referred to woven fabrics. However, weaving is not the only manufacturing method, and many other methods were later developed to form textile structures based on their intended use. Knitting and non-woven are other popular types of fabric manufacturing. In the contemporary world, textiles satisfy the material needs for versatile applications, from simple daily clothing to bulletproof jackets, spacesuits, and doctor's gowns. (Full article...)

Textile arts are arts and crafts that use plant, animal, or synthetic fibers to construct practical or decorative objects. (Full article...)

Selected articles - load new batch

  • Image 1 Indigo dye is an organic compound with a distinctive blue color. Indigo is a natural dye extracted from the leaves of some plants of the Indigofera genus, in particular Indigofera tinctoria. Dye-bearing Indigofera plants were commonly grown and used throughout the world, particularly in Asia, with the production of indigo dyestuff economically important due to the historical rarity of other blue dyestuffs. Most indigo dye produced today is synthetic, constituting around 80,000 tonnes each year, as of 2023. It is most commonly associated with the production of denim cloth and blue jeans, where its properties allow for effects such as stone washing and acid washing to be applied quickly, which is why clothing made with natural Indigo dye tends to be more expensive. (Full article...)

    Indigo dye is an organic compound with a distinctive blue color. Indigo is a natural dye extracted from the leaves of some plants of the Indigofera genus, in particular Indigofera tinctoria. Dye-bearing Indigofera plants were commonly grown and used throughout the world, particularly in Asia, with the production of indigo dyestuff economically important due to the historical rarity of other blue dyestuffs.

    Most indigo dye produced today is synthetic, constituting around 80,000 tonnes each year, as of 2023. It is most commonly associated with the production of denim cloth and blue jeans, where its properties allow for effects such as stone washing and acid washing to be applied quickly, which is why clothing made with natural Indigo dye tends to be more expensive. (Full article...)
  • Image 2 Rug in progress in Teotitlan del Valle, Oaxaca The textiles of Mexico have a long history. The making of fibers, cloth and other textile goods has existed in the country since at least 1400 BCE. Fibers used during the pre-Hispanic period included those from the yucca, palm and maguey plants as well as the use of cotton in the hot lowlands of the south. After the Spanish conquest of the Aztec Empire, the Spanish introduced new fibers such as silk and wool as well as the European foot treadle loom. Clothing styles also changed radically. Fabric was produced exclusively in workshops or in the home until the era of Porfirio Díaz (1880s to 1910), when the mechanization of weaving was introduced, mostly by the French. Today, fabric, clothes and other textiles are both made by craftsmen and in factories. Handcrafted goods include pre-Hispanic clothing such as huipils and sarapes, which are often embroidered. Clothing, rugs and more are made with natural and naturally dyed fibers. Most handcrafts are produced by indigenous people, whose communities are concentrated in the center and south of the country in states such as Mexico State, Oaxaca and Chiapas. The textile industry remains important to the economy of Mexico although it has suffered a setback due to competition by cheaper goods produced in countries such as China, India and Vietnam. (Full article...)
    Rug in progress in Teotitlan del Valle, Oaxaca

    The textiles of Mexico have a long history. The making of fibers, cloth and other textile goods has existed in the country since at least 1400 BCE. Fibers used during the pre-Hispanic period included those from the yucca, palm and maguey plants as well as the use of cotton in the hot lowlands of the south. After the Spanish conquest of the Aztec Empire, the Spanish introduced new fibers such as silk and wool as well as the European foot treadle loom. Clothing styles also changed radically. Fabric was produced exclusively in workshops or in the home until the era of Porfirio Díaz (1880s to 1910), when the mechanization of weaving was introduced, mostly by the French.
    Today, fabric, clothes and other textiles are both made by craftsmen and in factories. Handcrafted goods include pre-Hispanic clothing such as huipils and sarapes, which are often embroidered. Clothing, rugs and more are made with natural and naturally dyed fibers. Most handcrafts are produced by indigenous people, whose communities are concentrated in the center and south of the country in states such as Mexico State, Oaxaca and Chiapas. The textile industry remains important to the economy of Mexico although it has suffered a setback due to competition by cheaper goods produced in countries such as China, India and Vietnam. (Full article...)
  • Image 3 Court Ladies Preparing Newly Woven Silk, a Chinese silk painting by Emperor Huizong of Song, early 12th century. The production of silk originated in Neolithic China within the Yangshao culture (4th millennium BC). Though it would later reach other places in the world, the art of silk production remained confined to China until the Silk Road opened at 114 BC. Even after trade opened, China maintained a virtual monopoly over silk production for another thousand years. The use of silk within China was not confined to clothing alone, and silk was used for a number of applications, such as writing. Within clothing, the color of silk worn also held social importance, and formed an important guide of social class during the Tang dynasty. Silk cultivation had reached Japan by 300 AD, and by 552 AD the Byzantine Empire managed to obtain silkworm eggs and were able to begin silkworm cultivation; the Arabs also began to manufacture silk at the same time. As a result of the spread of sericulture, Chinese silk exports became less important, although they still maintained dominance over the luxury silk market. The Crusades brought silk production to Western Europe, in particular to many Italian states, which saw an economic boom exporting silk to the rest of Europe. Developments in manufacturing technique also began to take place during the Middle Ages (5th to 15th centuries) in Europe, with devices such as the spinning wheel first appearing at this time. During the 16th century, France joined Italy in developing a successful silk trade, though the efforts of most other nations to develop a silk industry of their own were unsuccessful. (Full article...)
    A group of women wearing high-waisted skirts, wrap-front tops and large hair buns use wooden rods to prepare a length of white silk.
    Court Ladies Preparing Newly Woven Silk, a Chinese silk painting by Emperor Huizong of Song, early 12th century.

    The production of silk originated in Neolithic China within the Yangshao culture (4th millennium BC). Though it would later reach other places in the world, the art of silk production remained confined to China until the Silk Road opened at 114 BC. Even after trade opened, China maintained a virtual monopoly over silk production for another thousand years. The use of silk within China was not confined to clothing alone, and silk was used for a number of applications, such as writing. Within clothing, the color of silk worn also held social importance, and formed an important guide of social class during the Tang dynasty.

    Silk cultivation had reached Japan by 300 AD, and by 552 AD the Byzantine Empire managed to obtain silkworm eggs and were able to begin silkworm cultivation; the Arabs also began to manufacture silk at the same time. As a result of the spread of sericulture, Chinese silk exports became less important, although they still maintained dominance over the luxury silk market. The Crusades brought silk production to Western Europe, in particular to many Italian states, which saw an economic boom exporting silk to the rest of Europe. Developments in manufacturing technique also began to take place during the Middle Ages (5th to 15th centuries) in Europe, with devices such as the spinning wheel first appearing at this time. During the 16th century, France joined Italy in developing a successful silk trade, though the efforts of most other nations to develop a silk industry of their own were unsuccessful. (Full article...)
  • Image 4 Former woollen weavers' cottages in Wardle, Greater Manchester, England. A weavers' cottage was (and to an extent still is) a type of house used by weavers for cloth production in the putting-out system sometimes known as the domestic system. Weavers' cottages were common in Great Britain, often with dwelling quarters on the lower floors and loom-shop on the top floor. Cellar loomshops on the ground floor or in the basement were found where cotton was woven, as they provided high humidity. A loom-shop can be often recognised by a long row of windows which provided maximum light for the weaver. (Full article...)
    three storey stone-built, end-of-terrace cottage with six windows on the floor under the roof
    Former woollen weavers' cottages in Wardle, Greater Manchester, England.

    A weavers' cottage was (and to an extent still is) a type of house used by weavers for cloth production in the putting-out system sometimes known as the domestic system.

    Weavers' cottages were common in Great Britain, often with dwelling quarters on the lower floors and loom-shop on the top floor. Cellar loomshops on the ground floor or in the basement were found where cotton was woven, as they provided high humidity. A loom-shop can be often recognised by a long row of windows which provided maximum light for the weaver. (Full article...)
  • Image 5 Fabrics dyed in the current era from different species of sea snail. The colours in this photograph may not represent them precisely. Tyrian purple (Ancient Greek: πορφύρα porphúra; Latin: purpura), also known as royal purple, imperial purple, or imperial dye, is a reddish-purple natural dye. The name Tyrian refers to Tyre, Lebanon, once Phoenicia. It is secreted by several species of predatory sea snails in the family Muricidae, rock snails originally known by the name Murex (Bolinus brandaris, Hexaplex trunculus and Stramonita haemastoma). In ancient times, extracting this dye involved tens of thousands of snails and substantial labour, and as a result, the dye was highly valued. The colored compound is 6,6'-dibromoindigo. (Full article...)
    Fabrics dyed in the current era from different species of sea snail. The colours in this photograph may not represent them precisely.

    Tyrian purple (Ancient Greek: πορφύρα porphúra; Latin: purpura), also known as royal purple, imperial purple, or imperial dye, is a reddish-purple natural dye. The name Tyrian refers to Tyre, Lebanon, once Phoenicia. It is secreted by several species of predatory sea snails in the family Muricidae, rock snails originally known by the name Murex (Bolinus brandaris, Hexaplex trunculus and Stramonita haemastoma). In ancient times, extracting this dye involved tens of thousands of snails and substantial labour, and as a result, the dye was highly valued. The colored compound is 6,6'-dibromoindigo. (Full article...)
  • Image 6 Whitney in 1822 Eli Whitney Jr. (December 8, 1765 – January 8, 1825) was an American inventor, widely known for inventing the cotton gin in 1793, one of the key inventions of the Industrial Revolution that shaped the economy of the Antebellum South. Whitney's invention made upland short cotton into a profitable crop, which strengthened the economic foundation of slavery in the United States and prolonged the institution. Despite the social and economic impact of his invention, Whitney lost much of his profits in legal battles over patent infringement for the cotton gin. Thereafter, he turned his attention to securing contracts with the government in the manufacture of muskets for the newly formed United States Army. He continued making arms and inventing until his death in 1825. (Full article...)

    Whitney in 1822

    Eli Whitney Jr. (December 8, 1765 – January 8, 1825) was an American inventor, widely known for inventing the cotton gin in 1793, one of the key inventions of the Industrial Revolution that shaped the economy of the Antebellum South.

    Whitney's invention made upland short cotton into a profitable crop, which strengthened the economic foundation of slavery in the United States and prolonged the institution. Despite the social and economic impact of his invention, Whitney lost much of his profits in legal battles over patent infringement for the cotton gin. Thereafter, he turned his attention to securing contracts with the government in the manufacture of muskets for the newly formed United States Army. He continued making arms and inventing until his death in 1825. (Full article...)
  • Image 7 Lady Jane Allgood displays her embroidery of an anemone and tulips worked in long-and-short stitch, part of a set of 18th century chair covers and screens which survive at Nunwick Hall, although now much faded. English embroidery includes embroidery worked in England or by English people abroad from Anglo-Saxon times to the present day. The oldest surviving English embroideries include items from the early 10th century preserved in Durham Cathedral and the 11th century Bayeux Tapestry, if it was worked in England. The professional workshops of Medieval England created rich embroidery in metal thread and silk for ecclesiastical and secular uses. This style was called Opus Anglicanum or "English work", and was famous throughout Europe. With the Protestant Reformation of the 16th century, the focus of English embroidery increasingly turned to clothing and household furnishings, leading to another great flowering of English domestic embroidery in the Elizabethan and Jacobean eras. The end of this period saw the rise of the formal sampler as a record of the amateur stitcher's skills. Curious fashions of the mid-17th century were raised work or stumpwork, a pictorial style featuring detached and padded elements, and crewel work, featuring exotic leaf motifs worked in wool yarn. (Full article...)
    Lady Jane Allgood displays her embroidery of an anemone and tulips worked in long-and-short stitch, part of a set of 18th century chair covers and screens which survive at Nunwick Hall, although now much faded.


    English embroidery includes embroidery worked in England or by English people abroad from Anglo-Saxon times to the present day. The oldest surviving English embroideries include items from the early 10th century preserved in Durham Cathedral and the 11th century Bayeux Tapestry, if it was worked in England. The professional workshops of Medieval England created rich embroidery in metal thread and silk for ecclesiastical and secular uses. This style was called Opus Anglicanum or "English work", and was famous throughout Europe.

    With the Protestant Reformation of the 16th century, the focus of English embroidery increasingly turned to clothing and household furnishings, leading to another great flowering of English domestic embroidery in the Elizabethan and Jacobean eras. The end of this period saw the rise of the formal sampler as a record of the amateur stitcher's skills. Curious fashions of the mid-17th century were raised work or stumpwork, a pictorial style featuring detached and padded elements, and crewel work, featuring exotic leaf motifs worked in wool yarn. (Full article...)
  • Image 8 Utility pole warmer on New York City street corner. Knitta Please, also known as simply Knitta, is the group of artists who began the "knit graffiti" movement in Houston, Texas in 2005. They are known for wrapping public architecture—e.g. lampposts, parking meters, telephone poles, and signage—with knitted or crocheted material, a process known as "knit graffiti", "yarn storming" or "yarnbombing". The mission is to make street art "a little more warm and fuzzy." Knitta grew to eleven members by the end of 2007, but eventually dwindled down to its founder, Magda Sayeg, who continues to travel and knit graffiti. Internationally, as many as a dozen groups have followed Knitta's lead. Sayeg and the group have shown their art across the United States and around the world. (Full article...)
    Utility pole warmer on New York City street corner.


    Knitta Please, also known as simply Knitta, is the group of artists who began the "knit graffiti" movement in Houston, Texas in 2005. They are known for wrapping public architecture—e.g. lampposts, parking meters, telephone poles, and signage—with knitted or crocheted material, a process known as "knit graffiti", "yarn storming" or "yarnbombing".
    The mission is to make street art "a little more warm and fuzzy."

    Knitta grew to eleven members by the end of 2007, but eventually dwindled down to its founder, Magda Sayeg, who continues to travel and knit graffiti. Internationally, as many as a dozen groups have followed Knitta's lead. Sayeg and the group have shown their art across the United States and around the world. (Full article...)
  • Image 9 White Oak Mill Cone Mills Corporation was an American textile manufacturing company. It produced cotton fabrics such as corduroy, flannel, and denim. The company headquartered in Greensboro, North Carolina. (Full article...)

    White Oak Mill

    Cone Mills Corporation was an American textile manufacturing company. It produced cotton fabrics such as corduroy, flannel, and denim. The company headquartered in Greensboro, North Carolina. (Full article...)
  • Image 10 Hand-made sweater worn by Fred Rogers, on display in the Smithsonian Institution. Rogers' mother Nancy knitted all the sweaters he wore on Mister Rogers' Neighborhood. The "sweater curse" or "curse of the love sweater" is a term used by knitters and crocheters to describe the belief that if a knitter or crocheter gives a hand-knit sweater to a significant other, it will lead to the recipient breaking up with the knitter. In an alternative formulation, the relationship will end before the sweater is even completed. The belief is widely discussed in knitting publications, and some knitters claim to have experienced it. In a 2005 poll, 15% of active knitters said that they had experienced the sweater curse firsthand, and 41% considered it a possibility that should be taken seriously. Despite its name, the "sweater curse" is treated in knitting literature not as a superstition governed by paranormal forces, but rather as a real-world pitfall of knitting that has rational explanations. Several plausible mechanisms for the sweater curse have been proposed, but it has not been studied systematically. (Full article...)
    An orange sweater in a museum display. It has a zipper down the middle and a decorative cable pattern on either side of the zipper
    Hand-made sweater worn by Fred Rogers, on display in the Smithsonian Institution. Rogers' mother Nancy knitted all the sweaters he wore on Mister Rogers' Neighborhood.

    The "sweater curse" or "curse of the love sweater" is a term used by knitters and crocheters to describe the belief that if a knitter or crocheter gives a hand-knit sweater to a significant other, it will lead to the recipient breaking up with the knitter. In an alternative formulation, the relationship will end before the sweater is even completed. The belief is widely discussed in knitting publications, and some knitters claim to have experienced it. In a 2005 poll, 15% of active knitters said that they had experienced the sweater curse firsthand, and 41% considered it a possibility that should be taken seriously.

    Despite its name, the "sweater curse" is treated in knitting literature not as a superstition governed by paranormal forces, but rather as a real-world pitfall of knitting that has rational explanations. Several plausible mechanisms for the sweater curse have been proposed, but it has not been studied systematically. (Full article...)
  • Image 11 A woman from Ramallah, c. 1929–1946 Palestinian traditional clothing are the types of clothing historically and sometimes still presently worn by Palestinians. Foreign travelers to Palestine in the 19th and early 20th centuries often commented on the rich variety of the costumes worn, particularly by the fellaheen or village women. Many of the handcrafted garments were richly embroidered and the creation and maintenance of these items played a significant role in the lives of the region's women. Though experts in the field trace the origins of Palestinian costumes to ancient times, there are no surviving clothing artifacts from this early period against which the modern items might be definitively compared. Influences from the various empires to have ruled Palestine, such as Ancient Egypt, Ancient Rome and the Byzantine empire, among others, have been documented by scholars largely based on the depictions in art and descriptions in literature of costumes produced during these times. (Full article...)
    A woman from Ramallah
    A woman from Ramallah, c. 1929–1946

    Palestinian traditional clothing are the types of clothing historically and sometimes still presently worn by Palestinians. Foreign travelers to Palestine in the 19th and early 20th centuries often commented on the rich variety of the costumes worn, particularly by the fellaheen or village women. Many of the handcrafted garments were richly embroidered and the creation and maintenance of these items played a significant role in the lives of the region's women.

    Though experts in the field trace the origins of Palestinian costumes to ancient times, there are no surviving clothing artifacts from this early period against which the modern items might be definitively compared. Influences from the various empires to have ruled Palestine, such as Ancient Egypt, Ancient Rome and the Byzantine empire, among others, have been documented by scholars largely based on the depictions in art and descriptions in literature of costumes produced during these times. (Full article...)
  • Image 12 Samuel Slater Samuel Slater (June 9, 1768 – April 21, 1835) was an early English-American industrialist known as the "Father of the American Industrial Revolution", a phrase coined by Andrew Jackson, and the "Father of the American Factory System". In the United Kingdom, he was called "Slater the Traitor" and "Sam the Slate" because he brought British textile technology to the United States, modifying it for American use. He memorized the textile factory machinery designs as an apprentice to a pioneer in the British industry before migrating to the U.S. at the age of 21. Slater designed the first textile mills in the U.S. and later went into business for himself, developing a family business with his sons. He eventually owned 13 spinning mills and had developed tenant farms and company towns around his textile mills, such as Slatersville, Rhode Island. (Full article...)

    Samuel Slater

    Samuel Slater (June 9, 1768 – April 21, 1835) was an early English-American industrialist known as the "Father of the American Industrial Revolution", a phrase coined by Andrew Jackson, and the "Father of the American Factory System". In the United Kingdom, he was called "Slater the Traitor" and "Sam the Slate" because he brought British textile technology to the United States, modifying it for American use. He memorized the textile factory machinery designs as an apprentice to a pioneer in the British industry before migrating to the U.S. at the age of 21.

    Slater designed the first textile mills in the U.S. and later went into business for himself, developing a family business with his sons. He eventually owned 13 spinning mills and had developed tenant farms and company towns around his textile mills, such as Slatersville, Rhode Island. (Full article...)
  • Image 13 "Summer", detail from a tapestry called The Seasons or Orchard, woven by Morris & Co. in wool, silk, and mohair on a cotton ground at Merton Abbey in 1890, designed by William Morris and John Henry Dearle. John Henry Dearle (22 August 1859 – 15 January 1932) was a British textile and stained-glass designer trained by the artist and craftsman William Morris who was much influenced by the Pre-Raphaelite Brotherhood. Dearle designed many of the later wallpapers and textiles released by Morris & Co., and contributed background and foliage patterns to tapestry designs featuring figures by Edward Burne-Jones and others. Beginning in his teens as a shop assistant and then design apprentice, Dearle rose to become Morris & Co.'s chief designer by 1890, creating designs for tapestries, embroidery, wallpapers, woven and printed textiles, stained glass, and carpets. Following Morris's death in 1896, Dearle was appointed Art Director of the firm, and became its principal stained glass designer on the death of Burne-Jones in 1898. Morris's reputation overshadowed Dearle's work throughout Dearle's career: Dearle exhibited early patterns under Morris's name and Dearle designs continue to be sold as Morris patterns. Critical assessment of Dearle's work then underwent a significant change during the final decades of the twentieth century, recognizing Dearle's mature work as having a unique artistic vision of its own. Dearle always remained close to Morris's aesthetic, but from the 1890s onward he incorporated a distinctive set of Persian and Turkish influences. (Full article...)
    "Summer", detail from a tapestry called The Seasons or Orchard, woven by Morris & Co. in wool, silk, and mohair on a cotton ground at Merton Abbey in 1890, designed by William Morris and John Henry Dearle.

    John Henry Dearle (22 August 1859 – 15 January 1932) was a British textile and stained-glass designer trained by the artist and craftsman William Morris who was much influenced by the Pre-Raphaelite Brotherhood. Dearle designed many of the later wallpapers and textiles released by Morris & Co., and contributed background and foliage patterns to tapestry designs featuring figures by Edward Burne-Jones and others. Beginning in his teens as a shop assistant and then design apprentice, Dearle rose to become Morris & Co.'s chief designer by 1890, creating designs for tapestries, embroidery, wallpapers, woven and printed textiles, stained glass, and carpets. Following Morris's death in 1896, Dearle was appointed Art Director of the firm, and became its principal stained glass designer on the death of Burne-Jones in 1898.

    Morris's reputation overshadowed Dearle's work throughout Dearle's career: Dearle exhibited early patterns under Morris's name and Dearle designs continue to be sold as Morris patterns. Critical assessment of Dearle's work then underwent a significant change during the final decades of the twentieth century, recognizing Dearle's mature work as having a unique artistic vision of its own. Dearle always remained close to Morris's aesthetic, but from the 1890s onward he incorporated a distinctive set of Persian and Turkish influences. (Full article...)
  • Image 14 Kusquqvagmiut (Kuskokwim Yup'ik) man and woman wearing hoodless fancy fur parkas (atkupiak), circa 1879 Yup'ik clothing (Yup'ik aturaq sg aturak dual aturat pl, aklu, akluq, un’u ; also, piluguk in Unaliq-Pastuliq dialect, aklu, cangssagar, un’u in Nunivak dialect, Cup'ik clothing for the Chevak Cup'ik-speaking people of Chevak and Cup'ig clothing for the Nunivak Cup'ig-speaking people of Nunivak Island) refers to the traditional Eskimo-style clothing worn by the Yupik people of southwestern Alaska. The traditional clothing systems developed and used by the Yup’ik, Inuit and Nuniwarmiut peoples performs similarly to the most effective cold weather clothing developed to date. Yup'ik women made clothes and footwear from animal skins (especially hide and fur of marine and land mammals for fur clothing, sometimes birds, also fish), sewn together using needles made from animal bones, walrus ivory, and bird bones such as the front part of a crane's foot and threads made from other animal products, such as sinew. The multi-functional ulu (semilunar woman's knife) is used to process and cut skins for clothing and footwear. Women made most clothing of caribou (wild caribou Rangifer tarandus granti and domestic reindeer Rangifer tarandus tarandus) and sealskin. Yup’ik clothing tended to fit relatively loosely. (Full article...)
    Kusquqvagmiut (Kuskokwim Yup'ik) man and woman wearing hoodless fancy fur parkas (atkupiak), circa 1879

    Yup'ik clothing (Yup'ik aturaq sg aturak dual aturat pl, aklu, akluq, un’u ; also, piluguk in Unaliq-Pastuliq dialect, aklu, cangssagar, un’u in Nunivak dialect, Cup'ik clothing for the Chevak Cup'ik-speaking people of Chevak and Cup'ig clothing for the Nunivak Cup'ig-speaking people of Nunivak Island) refers to the traditional Eskimo-style clothing worn by the Yupik people of southwestern Alaska.

    The traditional clothing systems developed and used by the Yup’ik, Inuit and Nuniwarmiut peoples performs similarly to the most effective cold weather clothing developed to date. Yup'ik women made clothes and footwear from animal skins (especially hide and fur of marine and land mammals for fur clothing, sometimes birds, also fish), sewn together using needles made from animal bones, walrus ivory, and bird bones such as the front part of a crane's foot and threads made from other animal products, such as sinew. The multi-functional ulu (semilunar woman's knife) is used to process and cut skins for clothing and footwear. Women made most clothing of caribou (wild caribou Rangifer tarandus granti and domestic reindeer Rangifer tarandus tarandus) and sealskin. Yup’ik clothing tended to fit relatively loosely. (Full article...)
  • Image 15 Cotton corduroy Corduroy is a textile with a distinctively raised "cord" or wale texture. Modern corduroy is most commonly composed of tufted cords, sometimes exhibiting a channel (bare to the base fabric) between them. Both velvet and corduroy derive from fustian fabric. Corduroy looks as if it is made from multiple cords laid parallel to each other. (Full article...)
    Cotton corduroy

    Corduroy is a textile with a distinctively raised "cord" or wale texture. Modern corduroy is most commonly composed of tufted cords, sometimes exhibiting a channel (bare to the base fabric) between them. Both velvet and corduroy derive from fustian fabric. Corduroy looks as if it is made from multiple cords laid parallel to each other. (Full article...)
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Did you know (auto generated)

  • ... that during the Second World War, the British government's campaign Make-Do and Mend encouraged the public to fashion men's clothes into womenswear?
  • ... that during a renovation of 4 Park Avenue, workers found a sealed room with women's clothes and shoes that was not in the building's blueprints?
  • ... that Church Clothes 4 deals with Christian hip hop artist Lecrae's faith deconstruction and reconstruction?
  • ... that pioneering Daily News camerawoman Evelyn Straus had her clothes custom-made to carry her film and flashbulbs?
  • ... that Liberian paramount chief Tamba Taylor worked as a tailor and claimed to have sewn clothes for Ethiopian emperor Haile Selassie and Ghanaian president Kwame Nkrumah?
  • ... that after being criticized for dressing "like a doll" at an important meeting, pioneering Russian feminist Anna Filosofova replied that "clothes do not make the woman"?

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Mrs. Bill Stagg of Pie Town, New Mexico with quilt
Mrs. Bill Stagg of Pie Town, New Mexico with quilt
Credit: Lee Russell

Quilting is a sewing method done either by hand, by sewing machine, or by Longarm quilting system. The process uses a needle and thread to join two or more layers of material together to make a quilt. Typical quilting is done with three layers, the top fabric or quilt top, batting or insulating material and backing material.

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The Scarlet Letter
Her attire, which indeed, she had wrought for the occasion in prison, and had modelled much after her own fancy, seemed to express the attitude of her spirit, the desperate recklessness of her mood, by its wild and picturesque peculiarity. But the point which drew all eyes, and, as it were, transfigured the wearer--so that both men and women who had been familiarly acquainted with Hester Prynne were now impressed as if they beheld her for the first time--was that SCARLET LETTER, so fantastically embroidered and illuminated upon her bosom. It had the effect of a spell, taking her out of the ordinary relations with humanity, and enclosing her in a sphere by herself.
"She hath good skill at her needle, that's certain," remarked one of her female spectators; "but did ever a woman, before this brazen hussy, contrive such a way of showing it? Why, gossips, what is it but to laugh in the faces of our godly magistrates, and make a pride out of what they, worthy gentlemen, meant for a punishment?"

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Clothing and the environment
Clothing containers
Clothing in politics
Clothing industry
Clothing-related organizations
Color of clothing
Clothing controversies
Costumes
Dress codes
Fashion
Fashion accessories
Fashion museums
Gender and clothing
History of clothing
Images of clothing
Individual garments
Laundry
Minimalist clothing
Modesty
Mythological clothing
Nudity
Parts of clothing
Sewing
Sizes in clothing
Tailors
Women's clothing
Clothing stubs
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Textile arts
Textile arts by country
Textile arts by region
Textile artists
Beadwork
Buttons
Textile arts exhibitions
Glossaries of textile arts
Indigenous textiles
Lace
Needlework
Quilting
Rag dolls
Ropework
Rugs and carpets
Sewing
Spinning
Tapestries
Textile arts organizations
Textile design
Textile printing
Thangkas
Wearable art
Weaving
Yarn
Textile arts stubs

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