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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 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 2 Gunta Stölzl (5 March 1897 – 22 April 1983) was a German textile artist who played a fundamental role in the development of the Bauhaus school's weaving workshop, where she created enormous change as it transitioned from individual pictorial works to modern industrial designs. She was one of a small number of female teachers on the Bauhaus' staff and the first to hold the title of "Master". Her textile work is thought to typify the distinctive style of Bauhaus textiles. She joined the Bauhaus as a student in 1919, became a junior master in 1927. She was dismissed for political reasons in 1931, two years before the Bauhaus closed under pressure from the Nazis. (Full article...)

    Gunta Stölzl (5 March 1897 – 22 April 1983) was a German textile artist who played a fundamental role in the development of the Bauhaus school's weaving workshop, where she created enormous change as it transitioned from individual pictorial works to modern industrial designs. She was one of a small number of female teachers on the Bauhaus' staff and the first to hold the title of "Master".

    Her textile work is thought to typify the distinctive style of Bauhaus textiles. She joined the Bauhaus as a student in 1919, became a junior master in 1927. She was dismissed for political reasons in 1931, two years before the Bauhaus closed under pressure from the Nazis. (Full article...)
  • Image 3 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. (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. (Full article...)
  • Image 4 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 5 "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 6 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...)
    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 7 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 8 The Vestiarium Scoticum (full title, Vestiarium Scoticum: from the Manuscript formerly in the Library of the Scots College at Douay. With an Introduction and Notes, by John Sobieski Stuart) is a book which was first published in 1842 by William Tait of Edinburgh in a limited edition. John Telfer Dunbar, in his seminal work History of Highland Dress, referred to it as "probably the most controversial costume book ever written". The book itself is purported to be a reproduction, with colour illustrations, of a 15th-century manuscript on the clan tartans of Scottish families. Shortly after its publication it was denounced as a forgery, and the "Stuart" brothers who brought it forth were also denounced as impostors for claiming to be the grandsons of Bonnie Prince Charlie. It is generally accepted today that neither the brothers themselves nor the Vestiarium are what they were purported to be. (Full article...)
    The Vestiarium Scoticum (full title, Vestiarium Scoticum: from the Manuscript formerly in the Library of the Scots College at Douay. With an Introduction and Notes, by John Sobieski Stuart) is a book which was first published in 1842 by William Tait of Edinburgh in a limited edition. John Telfer Dunbar, in his seminal work History of Highland Dress, referred to it as "probably the most controversial costume book ever written".

    The book itself is purported to be a reproduction, with colour illustrations, of a 15th-century manuscript on the clan tartans of Scottish families. Shortly after its publication it was denounced as a forgery, and the "Stuart" brothers who brought it forth were also denounced as impostors for claiming to be the grandsons of Bonnie Prince Charlie. It is generally accepted today that neither the brothers themselves nor the Vestiarium are what they were purported to be. (Full article...)
  • Image 9 Cloak, 1580–1600 V&A Museum no. 793–1901 Techniques – Red satin, couched and embroidered with silver, silver-gilt and coloured silk threads, trimmed with silver-gilt and silk thread fringe and tassel, and lined with pink linen Aesthetics in textiles is one of the basic concepts of serviceability of textiles. It is determined by the perception of touch and sight. Aesthetics imply the appearance and attraction of textile products; it includes the color and texture of the material. It is a statement about the end user (consumer) and the target market. When combined with fabric construction, the finish of the clothing material, garment fit, style, and fashion compatibility, colours create an aesthetic comfort. All of these elements work together to satisfy our visual perception. Aesthetics incorporates the role of evaluation (analysing and judging) also. There are various arts and applications that imparts aesthetic properties in textiles. Additionally, the use of LEDs and optical fibres enables the creation of aesthetic properties such as illuminated textiles. (Full article...)
    Cloak, 1580–1600 V&A Museum no. 793–1901 Techniques – Red satin, couched and embroidered with silver, silver-gilt and coloured silk threads, trimmed with silver-gilt and silk thread fringe and tassel, and lined with pink linen

    Aesthetics in textiles is one of the basic concepts of serviceability of textiles. It is determined by the perception of touch and sight. Aesthetics imply the appearance and attraction of textile products; it includes the color and texture of the material. It is a statement about the end user (consumer) and the target market. When combined with fabric construction, the finish of the clothing material, garment fit, style, and fashion compatibility, colours create an aesthetic comfort. All of these elements work together to satisfy our visual perception. Aesthetics incorporates the role of evaluation (analysing and judging) also.

    There are various arts and applications that imparts aesthetic properties in textiles. Additionally, the use of LEDs and optical fibres enables the creation of aesthetic properties such as illuminated textiles. (Full article...)
  • Image 10 Posthumous depiction of Ross, from 1893 Elizabeth Griscom Ross (née Griscom; January 1, 1752 – January 30, 1836), also known by her second and third married names, Ashburn and Claypoole, was an American upholsterer who was credited by her relatives in 1870 with making the second official U.S. flag, accordingly known as the Betsy Ross flag. Though most historians dismiss the story, Ross family tradition holds that General George Washington, commander-in-chief of the Continental Army and two members of a congressional committee—Robert Morris and George Ross—visited Mrs. Ross in 1776. Mrs. Ross convinced George Washington to change the shape of the stars in a sketch of a flag he showed her from six-pointed to five-pointed by demonstrating that it was easier and speedier to cut the latter. However, there is no archival evidence or other recorded verbal tradition to substantiate this story of the first U.S. flag. It appears that the story first surfaced in the writings of her grandson in the 1870s (a century after the fact), with no mention or documentation in earlier decades. Ross made flags for the Pennsylvania Navy during the American Revolution. After the Revolution, she made U.S. flags for over 50 years, including 50 garrison flags for the U.S. Arsenal on the Schuylkill River during 1811. The flags of the Pennsylvania navy were overseen by the Pennsylvania Navy Board. The board reported to the Pennsylvania Provincial Assembly's Committee of Safety. In July 1775, the President of the Committee of Safety was Benjamin Franklin. Its members included Robert Morris and George Ross. At that time, the committee ordered the construction of gunboats that would eventually need flags as part of their equipment. As late as October 1776, Captain William Richards was still writing to the Committee of Safety to request the design that he could use to order flags for the fleet. (Full article...)

    Posthumous depiction of Ross, from 1893

    Elizabeth Griscom Ross (née Griscom; January 1, 1752 – January 30, 1836), also known by her second and third married names, Ashburn and Claypoole, was an American upholsterer who was credited by her relatives in 1870 with making the second official U.S. flag, accordingly known as the Betsy Ross flag. Though most historians dismiss the story, Ross family tradition holds that General George Washington, commander-in-chief of the Continental Army and two members of a congressional committee—Robert Morris and George Ross—visited Mrs. Ross in 1776. Mrs. Ross convinced George Washington to change the shape of the stars in a sketch of a flag he showed her from six-pointed to five-pointed by demonstrating that it was easier and speedier to cut the latter. However, there is no archival evidence or other recorded verbal tradition to substantiate this story of the first U.S. flag. It appears that the story first surfaced in the writings of her grandson in the 1870s (a century after the fact), with no mention or documentation in earlier decades.

    Ross made flags for the Pennsylvania Navy during the American Revolution. After the Revolution, she made U.S. flags for over 50 years, including 50 garrison flags for the U.S. Arsenal on the Schuylkill River during 1811. The flags of the Pennsylvania navy were overseen by the Pennsylvania Navy Board. The board reported to the Pennsylvania Provincial Assembly's Committee of Safety. In July 1775, the President of the Committee of Safety was Benjamin Franklin. Its members included Robert Morris and George Ross. At that time, the committee ordered the construction of gunboats that would eventually need flags as part of their equipment. As late as October 1776, Captain William Richards was still writing to the Committee of Safety to request the design that he could use to order flags for the fleet. (Full article...)
  • Image 11 Court Ladies Preparing Newly Woven Silk, a Chinese silk painting sucby Emperor Huizong of Song, early 12th century. The production of silk originated in Neolithic China within the Yangshao culture (4th millennium BCE). 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 of China. 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 while the Arabs also started to manufacture silk at around 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 the manufacturing technique also started 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, although 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 sucby Emperor Huizong of Song, early 12th century.

    The production of silk originated in Neolithic China within the Yangshao culture (4th millennium BCE). 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 of China.

    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 while the Arabs also started to manufacture silk at around 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 the manufacturing technique also started 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, although the efforts of most other nations to develop a silk industry of their own were unsuccessful. (Full article...)
  • Image 12 Skirt (AM 1944.51-1) Mamianqun ornamented with Chinese goldwork and embroideries, a traditional skirt of the Han Chinese, Qing dynasty Goldwork is the art of embroidery using metal threads. It is particularly prized for the way light plays on it. The term "goldwork" is used even when the threads are imitation gold, silver, or copper. The metal wires used to make the threads have never been entirely gold; they have always been gold-coated silver or cheaper metals, and even then the "gold" often contains a very low percent of real gold. Most metal threads are available in silver and sometimes copper as well as gold; some are available in colors as well. Goldwork is always surface embroidery and free embroidery; the vast majority is a form of laid work or couching; that is, the gold threads are held onto the surface of the fabric by a second thread, usually of fine silk. The ends of the thread, depending on type, are simply cut off, or are pulled through to the back of the embroidery and carefully secured with the couching thread. A tool called a mellore or a stilleto is used to help position the threads and create the holes needed to pull them through. The threads most often have metal or gold leaf wound around a textile thread, or threads treated with an adhesive and rolled in powdered gold or other metal. (Full article...)

    Skirt (AM 1944.51-1)
    Skirt (AM 1944.51-1)
    Mamianqun ornamented with Chinese goldwork and embroideries, a traditional skirt of the Han Chinese, Qing dynasty

    Goldwork is the art of embroidery using metal threads. It is particularly prized for the way light plays on it. The term "goldwork" is used even when the threads are imitation gold, silver, or copper. The metal wires used to make the threads have never been entirely gold; they have always been gold-coated silver or cheaper metals, and even then the "gold" often contains a very low percent of real gold. Most metal threads are available in silver and sometimes copper as well as gold; some are available in colors as well.

    Goldwork is always surface embroidery and free embroidery; the vast majority is a form of laid work or couching; that is, the gold threads are held onto the surface of the fabric by a second thread, usually of fine silk. The ends of the thread, depending on type, are simply cut off, or are pulled through to the back of the embroidery and carefully secured with the couching thread. A tool called a mellore or a stilleto is used to help position the threads and create the holes needed to pull them through. The threads most often have metal or gold leaf wound around a textile thread, or threads treated with an adhesive and rolled in powdered gold or other metal. (Full article...)
  • Image 13 A contemporary Navajo rug Navajo weaving (Navajo: diyogí) are textiles produced by Navajo people, who are based near the Four Corners area of the United States. Navajo textiles are highly regarded and have been sought after as trade items for more than 150 years. Commercial production of handwoven blankets and rugs has been an important element of the Navajo economy. As one art historian wrote, "Classic Navajo serapes at their finest equal the delicacy and sophistication of any pre-mechanical loom-woven textile in the world." Navajo textiles were originally utilitarian weavings, including cloaks, dresses, saddle blankets, and similar items. By the mid-19th century, Navajo wearing blankets were trade items prized by Indigenous peoples of the Great Plains and neighboring tribes. Toward the end of the 19th century, Navajo weavers began to make rugs for non-Native tourists and for export. (Full article...)
    A contemporary Navajo rug

    Navajo weaving (Navajo: diyogí) are textiles produced by Navajo people, who are based near the Four Corners area of the United States. Navajo textiles are highly regarded and have been sought after as trade items for more than 150 years. Commercial production of handwoven blankets and rugs has been an important element of the Navajo economy. As one art historian wrote, "Classic Navajo serapes at their finest equal the delicacy and sophistication of any pre-mechanical loom-woven textile in the world."

    Navajo textiles were originally utilitarian weavings, including cloaks, dresses, saddle blankets, and similar items. By the mid-19th century, Navajo wearing blankets were trade items prized by Indigenous peoples of the Great Plains and neighboring tribes. Toward the end of the 19th century, Navajo weavers began to make rugs for non-Native tourists and for export. (Full article...)
  • Image 14 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...)
  • Image 15 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...)
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Did you know (auto generated)

  • ... 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 Sandra Ng wore her own clothes while filming Love Lies to help the production crew save on the budget?
  • ... that Church Clothes 4 deals with Christian hip hop artist Lecrae's faith deconstruction and reconstruction?
  • ... that according to Brandy Hellville, executives at Brandy Melville have bought the clothes off of employees' backs?
  • ... 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 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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Bible Quilt, 1886.

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Traditional loom work by a woman in Konya, Turkey
Traditional loom work by a woman in Konya, Turkey
Credit: Randy Oostdyk

A loom is a machine or device for weaving thread or yarn into textiles. Looms can range from very small hand-held frames, to large free-standing hand looms, to huge automatic mechanical devices. A loom can also refer to an electrical cable assembly or harness i.e. wiring loom. In practice, the basic purpose of any loom is to hold the warp threads under tension to facilitate the interweaving of the weft threads. The precise shape of the loom and its mechanics may vary, but the basic function is the same.

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The following are images from various clothing-related articles on Wikipedia.

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Charles Dickens
"Is that his child?" said Madame Defarge, stopping in her work for the first time, and pointing her knitting-needle at little Lucie as if it were the finger of Fate.

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  • 17th century Central Tibeten thanka of Guhyasamaja Akshobhyavajra, Rubin Museum of Art
    17th century Central Tibeten thanka of Guhyasamaja Akshobhyavajra, Rubin Museum of Art
  • Buddha Vairocana - Google Art Project
    Buddha Vairocana - Google Art Project
  • Entire-embroidery-magna-carta-cornelia-parker - edit1
    Entire-embroidery-magna-carta-cornelia-parker - edit1
  • Eugène Grasset - A La Place Clichy
    Eugène Grasset - A La Place Clichy
  • Khalili Collections A Composite Imaginary View of Japan
    Khalili Collections A Composite Imaginary View of Japan


Subcategories

Category puzzle
Category puzzle
Select [►] to view subcategories
Clothing
Clothing by century
Clothing by country
Clothing by culture
Clothing by decade
Clothing by ethnicity
Clothing by function
Clothing by material
Clothing by type
Clothing by year
Clothing-related lists
Clothing containers
Clothing in politics
Clothing industry
Clothing-related organizations
Color of clothing
Clothing controversies
Costumes
Dress codes
Clothing and the environment
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
Songs about clothing
Tailors
Clothing stubs
Select [►] to view subcategories
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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