Relevant bibliographies by topics / Artisanat textile

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Artisanat textile'

Author: Grafiati
Published: 4 June 2021
Last updated: 13 February 2022

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Journal articles on the topic "Artisanat textile"

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Martial, Emmanuelle. "Exploitation des végétaux et artisanat textile au Néolithique final sur les sites de la vallée de la Deûle (Nord -." Les Nouvelles de l'archéologie, no. 114 (December 30, 2008): 33–41. http://dx.doi.org/10.4000/nda.611.

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Ramkumar, Bharath, and Rebecca M. Dias. "Sustaining traditional textile art among the Indigenous Nongtluh women of north-eastern India: An interpretative phenomenological analysis." Fashion, Style & Popular Culture 00, no. 00 (March 30, 2021): 1–28. http://dx.doi.org/10.1386/fspc_00075_1.

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Indigenous textile artisans have, for centuries, maintained traditional methods of textile making that is central to their livelihood and cultural identity. However, the increasing commodification of indigenous textiles around the world has threatened the preservation of traditional, eco-friendly methods of textile production, making it imperative to learn how indigenous groups that have successfully sustained their traditional textile art, have done so. This ethnographic study peers through the lens of indigenous Nongtluh women textile artisans belonging to the Ri-Bhoi district in the state of Meghalaya in the north-eastern region of India, with the aim of understanding how their traditional textile art has been sustained. An interpretative phenomenological analysis (IPA) of in-depth interview, focus group, field observation and photographic data uncovered two overarching themes that represented internal and external factors that have contributed to the sustenance of the Nongtluh women’s traditional textile art. Internal factors signified the artisans’ deep love for their textile art through inheritance, passion, ingenuity and pride. External factors revealed the role of government, economic prospect and convenience in the sustenance of the traditional textile art in this region. An interpretive framework is presented, representing these factors through the tree of sustenance. Implications and limitations are discussed.
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Antaki, Berea, and Katalin Medvedev. "Bolivian textile crafts and the subversion of institutionalized sustainability." Clothing Cultures 7, no. 1 (March 1, 2021): 91–100. http://dx.doi.org/10.1386/cc_00031_1.

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This article describes the tensions between institutionalized and grassroots forms of sustainability and their subsequent effects on textile artisans in La Paz, Bolivia. Principles of the indigenous cosmology Suma Qamaña are applied to the twenty-first-century challenge of environmental degradation and governmental corruption in the description of craft practices at two artisan collectives in La Paz. Suma Qamaña is an expression of the harmonious and respectful coexistence of humans with nature, which entails communal values and reciprocal resource management principles. The study highlights grassroots, practical solutions that encourage economic and environmental sustainability for textile cooperatives in Bolivia. Through extensive participant observation and in-depth interviews, this study seeks to understand how the lives of artisans are affected by the Bolivian government’s appropriation of the Suma Qamaña cosmology. The current political party, the Movimiento al Socialismo, has gained popular support in Bolivia partly by institutionalizing the inherent rights of nature in the national constitution. Despite this, the government continues to pursue extractive natural resource policies. To counter this, Bolivian textile artisans practise their own version of bottom-up sustainability, which does not rely on government institutions to enforce change. The artisans’ situated practices, traditional knowledge base and the inherently sustainable characteristics of craft production ‐ flexible, small-scale, localized and resilient ‐ reflect potential trends and alternatives for apparel production.
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Enríquez Salas, Porfirio. "La alpaca suri, de la extinción a la conservación de la biodiversidad de colores y la importancia de la bioartesanía textil en el distrito de Nuñoa (Melgar-Puno)." Revista Investigaciones Altoandinas - Journal of High Andean Investigation 17, no. 3 (December 30, 2015): 291. http://dx.doi.org/10.18271/ria.2015.140.

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<p>Se reflexiona la importancia de la crianza de alpacas en la región Puno, incidiendo en el proceso de extinción de las alpacas suri de color y las acciones llevadas a cabo para la recuperación de la citada raza en el distrito de Nuñoa (Melgar-Puno), mediante la implementación del proyecto “Evaluación, recuperación y conservación del germoplasma de la alpaca raza suri de color”, con el propósito de salvar de la extinción a las alpacas suri de color, por iniciativa de los criadores de alpacas del citado distrito. Se precisa que los resultados más importantes de este proyecto, se reflejan: a) en el establecimiento de centros familiares de repoblamiento y la generación de una estrategia sustentada en el criador de alpacas-artesano textil, destinada al aprovechamiento sostenible de las alpacas suri de color y su fibra; b) el incremento de capacidades textiles de las mujeres artesanas y criadoras de alpacas suri, para la transformación la fibra mediante el hilado y tejido a mano; y c) la propuesta de la bioartesanía textil por las mujeres criadoras organizadas en la Asociación de Artesanía suri Paqucha, como un nuevo enfoque sobre el proceso de elaboración de la artesanía textil en Puno, la misma que se basa en el biocomercio, que promueve la rentabilidad económica sustentada en procesos de conservación y uso sostenible de la biodiversidad con bajos impactos ambientales.</p><p> </p><p align="center"><strong>The suri alpaca from extinction biodiversity conservation colors and the importance of bio textile crafts in the district of Nuñoa (Melgar-Puno)</strong></p><p><strong><br /></strong></p><p><strong>ABSTRACT</strong></p><p>The importance of raising alpacas in the Puno region reflects, focusing on the process of extinction of suri alpacas color and the action taken for recovery of that race in the Nunoa district (Melgar-Puno) by implementing the project "Evaluation, restoration and conservation of germplasm of race color suri alpaca", with the purpose of saving from extinction the color suri alpacas initiative of alpaca farmers of that district. It states that the most important results of this project are reflected: a) in the establishment of family centers repopulation and generating a sustained by the breeder of alpacas-artisan textiles, aimed at sustainable use of suri alpacas color strategy and fiber; b) increasing capacities textile craftswomen and brooders Suri alpacas, for processing fiber spinning and weaving by hand; c) the proposed textile bio textile crafts brooders women organized by the Association of Craft Paqucha suri as a new approach to the process of development of the textile craft in Puno, the same that is based on the bio, which promotes profitability economic processes supported by conservation and sustainable use of biodiversity with low environmental impacts.</p><p> </p>
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De la Cruz Velasco, Laura, Juliana Chamorro Mejía, and Carlos Cordoba-Cely. "Characterization Physico-chemical and mechanical of 4 vegetable fibers used as artisanal raw materials in the Department of Nariño." DYNA 88, no. 216 (February 23, 2021): 96–102. http://dx.doi.org/10.15446/dyna.v88n216.87958.

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Nowadays there is very little information about the properties of the main vegetable fibers used in artisanal production in southern Colombia. The present comparative study analyzes the physical-chemical and mechanical properties of Fique (Furcraea macrophylla), Tetera (Stromanthe stromathoides or Stromanthe jacquinii), Totora (Schoenoplectus californicus) and Iraca or Toquilla Palm (Carludovica palmata), with the intention of identifying its strengths and weaknesses like an artisan raw material. The study found that fibers with higher elasticity such as Fique can be used for items such as clothing, while stronger fibers such as Tetera can be used to create items such as baskets that require more resistance to weight and rigidity. It was also found that Iraca and Totora could be better applied in the textile industry, and that the high moisture content in all fibers can affect their technological characteristics and the quality life cycle of artisan products.
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Ramya Sri, G. "A Study on Standard of Living Kalamkari Artisans." Shanlax International Journal of Management 7, no. 2 (October 3, 2019): 89–95. http://dx.doi.org/10.34293/management.v7i2.722.

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The birth place of textiles, India has always been known for its art, crafts, tradition and culture. The soothing weaves, vibrant colours, intricate embroideries, decorative motifs, and elaborate costumes have been most sought after inspirations and possessions. The integration of tradition with methods and techniques denotes the fact that work is treated as worship, and thus has been followed with great devotion and reverence. Keeping in tune to its cultural traditions is one such textile craft, kalamkari, the hand painted and block printed textile of India. Hand painted and block printed kalamkari also known as the Machilipatnam kalamkari is widely used in clothing, home decor and lifestyle products today. The objective of this research is to understand the evolution of hand painted and block printed kalamkari and the artisans, their life style, their standard of living . Secondary data was largely collected through books and also from blogs, newspapers, articles and various websites. To understand the standard of living of the artisans, a visit was paid to Machilipatnam. The research was exploratory and the findings were mainly qualitative in nature. After collecting the sufficient information, the paper analyses issues and challenges faced by the kalamkari artisans and then introduces possible solutions. Some conclusions are developed on the basis of this analysis.
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Van Den Eeckhout, Patricia. "Family Income of Ghent Working-Class Families Ca. 1900." Journal of Family History 18, no. 2 (March 1993): 87–110. http://dx.doi.org/10.1177/036319909301800205.

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Using an extensive inquiry into the family income of Ghent artisans and cotton, linen, and metal workers around 1900, the research reported in this article examines the level and the composition of family income at different phases of the life-cycle. In the Belgian textile center Ghent, which was characterized by a low male wage level, married women made a substantial contribution to the family income, especially in the years before children started to earn a living. The family income per person of textile workers approached or even exceeded the income of metal workers and artisans despite the fact that heads' wages were lower: the textile families' strategy, consisting of an increased work effort of women and children, was successful in bridging the income gap. On the other hand, the wives of metal workers and artisans came closer to the realization of the domestic ideal.
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ROSENTHAL, DAVID. "‘Every sort of manual type, and mostly foreigners’: migrants, brothers and festive kings in early modern Florence." Urban History 37, no. 3 (November 15, 2010): 360–71. http://dx.doi.org/10.1017/s0963926810000507.

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ABSTRACT:In 1522, the artisan festive ‘kingdom’ of the Biliemme put up the biggest street tabernacle in Florence. German textile workers were behind the tabernacle and this article argues that, at a time of crisis for German workers, these men looked to reassert their place in Florence through their participation in a citywide artisan festive subculture. Forty years later, Germans in the Biliemme district had largely been replaced by textile migrants from other parts of Italy. Nonetheless the kingdom remained a important vehicle for creating neighbourhood solidarities and for incorporating these new migrants into the artisan and civic world.
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Breu, Marlene R., and Ronald T. Marchese. "Armenian Religious Textiles in Istanbul." Journal of Interdisciplinary Studies 13, no. 1 (2001): 175–96. http://dx.doi.org/10.5840/jis2001131/210.

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This essay examines extant religious textile artifacts in the Armenian churches of Istanbul. The churches are not only social links, but also repositories for highly perishable material expressions of religious life, which enhanced the community. The pieces, most of which were donated to individual churches by the resident Armenian community, feature intricate designs and rich embellishment. They exhibit a remarkable level of technical sophistication and skill both within the professional artisan class and the lay community, especially Armenian women. The textiles are significant in the study of late Byzantine and Ottoman art, and the movement of Amtenians in the Diaspora The Armenian Orthodox Apostolic Church has long been an anchor of a minority people, and the caretaker of its artistic expression. It continues as an important link between the religious, cultural, and civil life of Armenians in Istanbul and all Turkey,
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Mishra, Jagriti. "Aavaran: creating niche through contemporary traditional textiles." Emerald Emerging Markets Case Studies 3, no. 2 (May 24, 2013): 1–12. http://dx.doi.org/10.1108/eemcs-aug-2012-0143.

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Subject area Marketing. Study level/applicability The case is aimed at Business Administration students. Case overview Udaipur based Aavaran – the echos of rural India – is a concept by COS-V, a leading non-governmental organization (NGO), which aims at connecting the tribal women of rural India with the mainstream. The NGO, set up in 1988 by Smt. Girija Vyas, was initially involved in imparting vocational training to the rural poor. Later, COS-V was taken up by Alka Sharma, a graduate from the Indian Institute of Crafts and Design, Jaipur, who completely changed the direction of the NGO. Her interest in textiles and crafts led to the genesis of the concept “Aavaran”. Aavaran is a retail outlet which was opened with a vision to provide the Indian market with traditional yet contemporary textiles and clothing. It offers a collection of women's and children's clothing and home textiles using a variety of traditional textiles and crafts. It is an artisan driven concept where the supply chain incorporates the essence of Indian textiles and crafts at every level. From the dyeing, printing, sampling and assembly of garments everything is done by the local women trained by COS-V with the support of DC-Handicrafts. The raw materials – the textiles, grey fabrics, etc. – are sourced directly from the rural weavers and artisans across India. The case study discusses how Aavaran developed the unique positioning of a retail platform for contemporary products made from traditional techniques, skills and hand-based processes; how it could revive the diminishing arts of Dabu and Phetia and how it carved a niche through its channelized marketing efforts. Expected learning outcomes The case will familiarize management students with the concept of niche marketing with Udaipur based firm Aavaran as an example which developed a unique positioning through its traditionally developed products. It will also acquaint students with a basic understanding of a supply chain with a cooperative firm in focus. Supplementary materials Teaching notes are available for educators only. Please contact your library to gain login details or email support@emeraldinsight.com to request teaching notes.
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Dissertations / Theses on the topic "Artisanat textile"

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Grosfilley, Anne. "Entre artisanat et industrie : l'aventure post-coloniale du paysage textile Ouest Africain." Montpellier 3, 2002. http://www.theses.fr/2002MON30003.

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Quillien, Louise. "Les textiles en Mésopotamie (750-500 av. J.-C.) : techniques de productions, circuits d'échanges et significations sociales." Thesis, Paris 1, 2016. http://www.theses.fr/2016PA01H019.

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Les textiles sont des biens de première nécessité et des objets de valeur en Mésopotamie, au Ier millénaire av J.-C. L'objet de cette étude est de comprendre comment les matières premières étaient produites, quelles étaient les techniques de fabrication des textiles et leurs diverses utilisations dans la société. Les matières premières étaient en partie produites sur place, et en partie importées. La laine, fibre textile principale, provenait de troupeaux appartenant en majorité aux institutions (temples et palais). Elles la redistribuaient dans toute la société par le paiement de salaires, la vente ou l'échange. Diverses personnes étaient en charge de la fabrication des textiles : artisans professionnels travaillant pour les temples ou pour une clientèle urbaine, femmes travaillant à domicile pour le profit d'une autorité supérieure ou de leur propre famille. Les nombreuses étapes de la chaîne opératoire de fabrication des textiles révèlent une spécialisation des artisans plus importante qu'aux époques précédentes. l'étude terminologique des termes akkadiens de textiles permet de mieux saisir la diversité de leurs usages. Les vêtements sont des marqueurs essentiels de l'identité. enfin, les textiles ont une valeur économique. Ils circulent dans la société, à travers des échanges sociaux et commerciaux. Leur étude révèle des traits fondamentaux de la société babylonienne au Ier millénaire av. J.-C. : l'ouverture de l'économie aux échanges extérieurs, une production artisanale plutôt décentralisée entre les mains d'acteurs individuels que totalement contrôlée par les institutions, et des conventions sociales fortes visibles à travers l'habillement
The textiles belonged to the basic necessities and were also valuable properties in Mesopotamia, during the Ist millenium BS. The purpose of this study is to undersand how the textile fibres were produced, what were the technics of manufacturing of these objects and their various uses in the Babylonian society. The raw materials were partly produced locally and partly imported through long distance trade. The wool, the main textile raw material, came from sheep herds belonging in majority to the institutions (temples and palaces). These institutions were redistributing the wool in the society by the payment of salaries to workers, by sales or exchanges. A lot of people were involved in textile production : professional craftsmen working for the temples or for the urban customers, women working at home for the profit of an institution or for their own family. The "chaîne opératoire" of textile manufacturing was following several steps, and reveals a specialisation of the craftsmen more important than before. The study of the textile terminology in Akkadian shows the diversity of the uses of these objects in the Babylonian society. Clothes were markers of identity. Lastly, the textiles had an economic value. They circulated inside the society through social exchanges and economic transactions. The study of the textiles reveals some fundamental aspects of Babylonia's history during the Ist millenium BC, for instance the openness of its economy to external trade, a craft production decentralised into the hands of individuals and not controlled exclusively by the institutions, and strong social conventions expressed by the apparel
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Gardalli, Mongi. "Effets des changements économiques et socio-culturels sur le secteur de l'artisanat textile à Khniss dans le Sahel tunisien." Lille 1, 2005. https://pepite-depot.univ-lille.fr/RESTREINT/Th_Num/2005/50377-2005-3.pdf.

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Cette thèse se propose une approche originale pour étudier les effets des changements économiques et socioculturels sur le secteur de l'artisanat textile a Khniss dans le Sahel tunisien. Nous essayons de spécifier la crise qui affecte aujourd'hui cet artisanat en procédant à une confrontation de ses caracteristiques traditionnelles aux nouvelles données du marché. Le tissage lainier apparaît comme un facteur d'identité. C'est une activité traditionnelle qui vit une crise de survivance. Tandis que le tissage des fibres artificielles semble devancer la production des tissages lainiers. Les différentes étapes précédant la fabrication d'un tissu lainier incombent aux hommes et aux femmes. Mais les opérations préparatoires du tissage sont effectuées uniquement par les hommes. Cependant, dans le deuxieme type de tissage, la femme n'a aucun role à jouer. Les changements économiques et l'évolution sociale et culturelle d'aujourd'hui remettent en cause cette organisation traditionnelle du travail. Ainsi, durant les trois dermères décennies, le développement industriel dans les domaines du textile, de l'habillement et du tourisme et l'emprise croissante des modes de vie modernes et le changement des goûts vestimentaires ainsi que les nouvelles orientations économiques de l'Etat ont accentué considérablement la décadence du secteur de l'artisanat textile de Khniss. Beaucoup d'artisans et d'artisanes se sont reconvertis soit en devenant ouvriers et ouvrières du secteur industriel, soit vers d'autres activités. L'avenir du secteur de l'artisanat textile demeure incertain. Les couvertures et les vêtements de laine s'avèrent faiblement consommés par les habitants de Khniss et par les villes limitrophes. Tandis que les tissus de fibres artificielles pataugent sur des marchés irreguliers. Ni la cooperative de tissage, ni le tourisme, en tant que facteurs de développement, puissent sauver ce secteur. Ses problèmes ne peuvent être résolus qu'à travers la formation du tisserand et le perfectionnement du tissage en vue de réhabiliter le secteur de l'artisanat textile.
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Deschênes, Janie. ""Faites-le vous-même" : les loisirs créatifs textiles au Québec." Doctoral thesis, Université Laval, 2021. http://hdl.handle.net/20.500.11794/69059.

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Cette thèse vise à démontrer l'importance des loisirs créatifs textiles dans l'identité des femmes québécoises, dans leur socialisation, dans l'expression de leurs sentiments pour ceux qu'elles aiment, dans le développement de leur créativité et dans leur équilibre mental et physique. Elle traite également de l'histoire de arts textiles québécois afin d'expliquer quelles sont les techniques toujours transmises de nos jours, et comment cette transmission des savoir-faire s'effectue. Elle questionne à la fois des notions d'épanouissement personnel, d'émulation technique, de passion, et le rapport à la mort. Elle se penche enfin sur le rapport à l'objet fabriqué à la main, sur son caractère éthique, politique ou écologique. L'analyse repose sur les témoignages oraux de 41 femmes pratiquant un loisir créatif textile et de celui d'un artisan de la fibre provenant de différentes régions de la province du Québec et de la région d'Ottawa dans la province de l'Ontario.
This thesis aims to show the importance of textile hobbies for the identity of Quebecois women, in the way they socialize, in the expression of their feelings for those they love, in the development of their creativity and in the balance of their mental and physical health. It also focuses on the history of textile arts in the province of Quebec, what techniques are still transmitted today and how this transmission of knowledge takes place. It deals with personal development, technical emulation, passion, and the relationship to death. Finally, it examines the relationship to the handmade object, its ethical, political or ecological character. The analysis draws on ethnographic interviews with 41 women practicing textile arts as a hobby and an artisan of fibers from different parts of the province of Québec and from the Ottawa region in the province of Ontario.
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SANCHEZ, ALDANA ELIANA MARIA. "Value networks in the Colombian small-scale textile artisanal sector." Thesis, Högskolan i Borås, Institutionen Textilhögskolan, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-17388.

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In this research, I report and analyze the experiences of people working with small-scale enterprises in the Colombian textile artisanal sector for understanding how artisanal products are delivered to national and international markets. The data was collected by interviewing design managers and managers currently working with several of these small-scale enterprises. This paper was done considering four important features: firstly, the enormous potential that the Colombian textile industry once held back in the 1960’s; secondly, Colombia’s rich and multiple artisanal creations as expression of culture and idiosyncrasy that show the country’s ample geography and culture; thirdly, the characteristics of the Colombian economy and industry which is mainly composed of micro and small enterprises; and lastly , the lack of research on small-scale value networks. In this research the idea of linear value chains is superseded by the notion of value networks, in which relationships, activities and actors are interconnected to co-create value. In this setting, culture, people and sustainability are the key factors to reach differentiation. By learning from these experiences and analyzing practices in small-scale enterprises I can suggest that, new approaches that benefit and reinforce the characteristics of the small and medium scale enterprises must be built as an opportunity for improving the lives of people in developing countries. Additionally, relationships and the order of the production and marketing flows within the value networks depend on the manager approach.
Program: Textilt management med inriktning styrning av textila värdekedjor
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Balduini, Émilie. "Les plantes dans le monde minoen : espèces, préparation, utilisations." Thesis, Strasbourg, 2013. http://www.theses.fr/2013STRAG016.

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Aujourd’hui, la Crète offre une flore riche et en partie unique. Cette thèse a pour objectif d’étudier les plantes dans le monde minoen (Crète et Théra, actuelle Santorin), en identifiant les espèces grâce à divers supports, en analysant les procédés de préparation et les utilisations que les Minoens pouvaient faire de ces plantes. La première partie de notre travail est un catalogue iconographique qui répertorie les plantes dans l’art, les écritures et les analyses scientifiques. Les études publiées jusqu’à présent se concentrent sur l’identification des motifs floraux ou sur une plante spécifique et les relations hommes-plantes ne sont pas ou peu analysées. La particularité de notre démarche est d’être complétée par une analyse contextuelle qui permet de pallier cette lacune. La deuxième partie de nos recherches concerne la préparation des plantes, c’est-à-dire les attentions qu’elles nécessitaient avant d’être utilisées dans la vie quotidienne. Les domaines d’utilisations envisageables étant nombreux, notre étude se focalise sur l’utilisation des plantes dans les cérémonies religieuses et dans l’artisanat du textile
Today, Crete offers a rich and partially unique flora. The aim of this thesis is to study plants in the Minoan world (Crete and Akrotiri, Thera), by identifying the species thanks to diverse media, by analyzing the methods of preparation and uses which Minoans could make of these plants. The first part of our work is an iconographic catalog which lists plants in art, writings and scientific analyses. Previous studies focus on the identification of floral patterns or a specific plant, and relationships between men and plants are not or not much analyzed. The special feature of our approach is to be completed by a contextual analysis which allows to compensate for this gap. The second part of our researches concerns the preparation of plants, that is to say the attention which they required before being used in everyday life. The possible fields being numerous, our study focuses on the use of plants in religion and in textile industry
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Pitou, Frédérique. "Laval au XVIIIème siècle : marchands, artisans, ouvriers dans une ville textile /." Laval (69 rue Magenta, 53000) : Société d'archéologie et d'histoire de la Mayenne, 1995. http://catalogue.bnf.fr/ark:/12148/cb358139465.

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Mazzarella, Francesco. "Crafting situated services : meaningful design for social innovation with textile artisan communities." Thesis, Loughborough University, 2018. https://dspace.lboro.ac.uk/2134/33528.

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The mainstream ecosystem has proven unsustainable in terms of livelihood, environmental stewardship, cultural heritage, and social equality. To alleviate these problems, a range of top-down strategies has been deployed, but they are often ineffective in addressing the specific needs and aspirations of diverse contexts. On the other hand, bottom-up initiatives started by communities also face organisational and resource limitations that prevent them from becoming resilient. Within this context, service design for social innovation has become a well-established human-centred, strategic and systemic approach to tackling such challenges. However, designers have put much emphasis on the use of fixed toolkits that result in one-size-fits-all outputs. Instead, this thesis argues for a more situated and embedded approach to service design. With this in mind, the aim of the research was to explore new roles, purposes and methods the service designer can adopt to activate communities to transition towards a more sustainable future. For this purpose, participatory case studies were undertaken with two textile artisan communities (in Nottingham, UK, and Cape Town, South Africa), chosen as relevant cases of design, production and consumption. As a result of both cases, the designer activated the artisans, previously working in an isolated and precarious condition, to become a community and outline a situated service proposition that embeds a shared vision for a sustainable future. Building on emerging anthropological approaches to service design, the thesis contributes an original methodological framework, which equips the service designer with cultural sensibility when entering communities, aiding in making sense of sustainable futures, facilitating the co-design of situated services and activating local legacies. In this, the investigation evidenced the diverse roles - cultural insider, storyteller, sensemaker, facilitator, and activist - the service designer can play throughout a social innovation process. Furthermore, the thesis emphasised that the mastery of the designer lies in the skill of tailoring his/her approach to specific contexts in order to craft situated services that are meaningful to the communities using them.
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Johnson, Joyce Starr. "Motivational factors among contemporary female needlework producers /." free to MU campus, to others for purchase, 2000. http://wwwlib.umi.com/cr/mo/fullcit?p9998489.

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Hartman, Sarah M. "Postcards of us Moroccan textiles on the global market /." Diss., Connect to the thesis, 2007. http://hdl.handle.net/10066/1009.

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Books on the topic "Artisanat textile"

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Cercles de fermières du Québec, ed. Les arts textiles: Trésors du patrimoine. Longueuil, Québec]: Cercles de fermières du Québec, 1995.

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Raymond, Marguerite. Les petites bricoles de Marguerite Raymond: Plus de 80 idées faciles à réaliser. Saint-Laurent [Québec]: Éditions de l'Époque, 1988.

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L' artisanat textile au Néolithique: L'exemple de Delley-Portalban II (Suisse) 3272-2462 avant J.-C. Montagnac: Editions Monique Mergoil, 2000.

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Médard, Fabienne. L' artisanat textile au Néolithique: L'exemple de Delley-Portalban II (Suisse) 3272-2462 avant J.-C. Montagnac: Editions Monique Mergoil, 2000.

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Dianne, Horton, ed. Canadian feed bags--: Recycled then & now : their stories and their quilts. Jordan, Ont: Qwiltr, 2006.

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Sadler, Judy Ann. Créations en polar. Markham, Ont: Éditions Scholastic, 2000.

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Gallery, Dalhousie Art, and Textile Museum of Canada, eds. Close to you: Contemporary textiles, intimacy and popular culture : Ai Kijima, Scott Kildall, Allyson Mitchell, Mark Newport and Michèle Provost. Halifax, N.S: Dalhousie Art Gallery, 2007.

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Weissman, Judith Reiter. Labors oflove: America's textiles and needlework, 1650-1930. New York: Knopf, 1987.

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Wendy, Lavitt, and Schecter Lee, eds. Labors of love: America's textiles and needlework, 1650-1930. London: Studio Visa, 1988.

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Weissman, Judith Reiter. Labors of love: America's textiles and needlework, 1650-1930. New York: Knopf, 1987.

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Book chapters on the topic "Artisanat textile"

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Nieto-Galan, Agustí. "Artisans and Artists in Dyeing and Printing." In Colouring Textiles, 153–80. Dordrecht: Springer Netherlands, 2001. http://dx.doi.org/10.1007/978-94-017-1081-7_5.

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Davelaar, Elizabeth, and Marsha A. Dickson. "Non-governmental Organization Support for Sustainable Artisan Business." In Textile Science and Clothing Technology, 49–72. Singapore: Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-16-1850-5_3.

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Shih, WenYing Claire, and Konstantinos Agrafiotis. "Sustainable Development in Urban Artisanal Luxury Fashion Networks." In Sustainable Textiles: Production, Processing, Manufacturing & Chemistry, 141–61. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-38532-3_8.

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Singh, Simrita, and Anu H. Gupta. "Crafting Lives: Redefining Culture and Artisan Lives Through the Revival of Crafts in the State of Punjab, India." In Functional Textiles and Clothing, 407–25. Singapore: Springer Singapore, 2019. http://dx.doi.org/10.1007/978-981-13-7721-1_31.

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Fernandes, Ana Margarida, and Isabele Lavado. "Design Artisan and Art: Development of a Textile Collection in Contemporary Fashion." In Advances in Industrial Design, 754–60. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-51194-4_98.

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Sanidas, Giorgos M. "Artisanat en Grèce et espace économique : le textile et la métallurgie." In L’artisanat en Grèce ancienne, 15–30. Presses universitaires du Septentrion, 2016. http://dx.doi.org/10.4000/books.septentrion.68763.

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Fee, Sarah. "Filling Hearts with Joy." In Transregional Trade and Traders, 163–217. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780199490684.003.0008.

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It is generally recognized that cotton textiles made in the Indian subcontinent dominated global markets until outcompeted by Britain’s industrially manufactures in the early 1800s. However, scholars have now nuanced this meta-narrative by era, Indian sub-region, artisan class, and textile type. Building on studies by Chhaya Goswami and Jeremy Prestholdt, this chapter explores the shifting fates of handcrafted ‘Indian cloth’ imports in the years 1800–1900 in eastern Africa. Employing an object-centred approach, it scrutinizes the category of ‘cloth’ as much as the modifiers of ‘British’, ‘Indian’, ‘Gujarati’, or ‘Kutchi’. It shows that of seven basic cloth types, handcrafted goods from western India held a significant share of many. It supports Haynes’ (2012) work that Indian textile artisans did not merely survive in the age of industrialization; they actively innovated. Colour was often key, highlighting the importance of India’s dyers and printers, often overlooked in favour of spinners and weavers.
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Bresson, Alain. "Nonagricultural Production, Capital, and Innovation." In The Making of the Ancient Greek Economy, translated by Steven Rendall, 175–98. Princeton University Press, 2018. http://dx.doi.org/10.23943/princeton/9780691183411.003.0007.

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This chapter examines the logic of capital and innovation in nonagricultural production in Classical and Hellenistic Greece. It begins with a discussion of fish production and consumption in ancient Greece, focusing on salt production and the preservation of food supplies by means of salt and salting, before discussing the Greek cities' exploitation of their coastal waters. It then considers the importance of fish trade and fish consumption to food supply, artisanal trades, and the distinctive character of artisanal production. In particular, it analyzes the structures of production and the kinds of constraints, both in terms of technology and capital, involved in artisanal work. It also explains how enterprises were structured and how unskilled labor was used by looking at the case of textile manufacturing. Finally, it describes technological innovation in textile manufacturing and in the artisanal trades, including the introduction of rotary movement and the watermill.
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Bessard, Fanny. "Artisans to Producers." In Caliphs and Merchants, 103–48. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198855828.003.0006.

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This chapter considers the physical change of the workspace chronologically, geographically, and by industry. From the case studies of pottery, glass, and textile making, as well as food processing, it discusses the standardization of the Roman practice, as seen at Timgad in North Africa, of zoning and conglomerating crafts in early Islam across the Near East and Central Asia. While acknowledging this continuity with the past, it examines the novelty and significance of manufacturing after 800, when ‘post-Roman’ ceased to be a meaningful description of Near Eastern economy, and questions whether urban crafts experienced differentiated or similar forms of development.
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Gordon, Robert B., and Patrick M. Malone. "Countryside, Shops, and Ships." In The Texture of Industry. Oxford University Press, 1994. http://dx.doi.org/10.1093/oso/9780195058857.003.0013.

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In the early seventeenth century, Americans began setting up shops to manufacture items such as soda ash, gunpowder, glass, charcoal, iron, casks, and wagons on a larger scale than they could manage in their homes. In some establishments, the proprietor was a practicing artisan (usually designated a “craftsman” today), while in others, such as glasshouses and ironworks, a manager coordinated the efforts of a dozen or more people. By the early nineteenth century, many Americans were participating in these industries, either full time or as an adjunct to farming. When we look at surviving artifacts from the seventeenth and eighteenth centuries, we find evidence that American artisans were steadily increasing the range and depth of their industrial skills. There were few socially constructed barriers to the range of skills that an individual could practice at work, and imaginative artisans could cross the conventional boundaries between trades, enriching the different technologies of each. The diversity of their work experiences contributed to a growing technological sophistication that helped Americans gain industrial maturity in the nineteenth century. Many people, including children, learned about artisans’ capabilities as they visited workplaces. The mechanization of work in America is sometimes associated with the advent of factories, but it was already under way in tasks such as sawing timber, grinding grain, and forging iron by the mid-seventeenth century. Americans gradually adopted machinery to ease the labor of producing goods, and learning about mechanical technology became part of everyday life in agricultural and frontier communities as well as in towns. Machinery became increasingly important in the work of craftsmen such as silversmiths, gunsmiths, and furniture makers, hut work in other industries was never extensively mechanized. Archaeological evidence tells us about work processes in some of these types of enterprises. American Indians possessed higher levels of technological skill than many of us realize. The physical evidence of their craftsmanship and well-organized efforts to extract natural resources stand in sharp contrast to the assertions of Indian primitiveness that fill many historical studies.
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Conference papers on the topic "Artisanat textile"

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Mazzarella, Francesco, Carolina Escobar-Tello, and Val Mitchell. "Moving Textile Artisans’ Communities towards a Sustainable Future – A Theoretical Framework." In Design Research Society Conference 2016. Design Research Society, 2016. http://dx.doi.org/10.21606/drs.2016.140.

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Leite, Lara Brito, and Maria Alice Vasconcelos Rocha. "The importance of introduction the artisanal technique in the Textile and Clothing Chain in Recife- PE." In 7º Simpósio Design Sustentável. São Paulo: Editora Blucher, 2019. http://dx.doi.org/10.5151/7dsd-1.1.005.

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Reports on the topic "Artisanat textile"

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Ramkumar, Bharath, and Rebecca Dias. Sustaining Indigenous Textile Artisans and Their Art in the North Eastern Region of India. Ames (Iowa): Iowa State University. Library, January 2019. http://dx.doi.org/10.31274/itaa.8330.

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