Relevant bibliographies by topics / Embroidery

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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 'Embroidery'

Author: Grafiati
Published: 4 June 2021
Last updated: 30 July 2024

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Journal articles on the topic "Embroidery"

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Yang, SuJeang. "The Relationship and Development of Joseon Embroidery and Lu-Embroidery of Shandon : Focusing on Embroidered Dwelling by a Mountain Stream at the National Museum of Korea." Korean Journal of Art History 315 (September 30, 2022): 75–117. http://dx.doi.org/10.31065/kjah.315.202209.003.

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This study aims to fill the gaps in the history of Korean embroidery by examining Luembroidery of Shandong, an area closely related to the Korean peninsula in history, geography, culture, and custom. Unlike Gu-embroidery of Jiangnan that gained renown in the late Ming dynasty, Lu-embroidery’s relations to Korea could be found from the ancient times, through medieval Yuan to the Qing period, and therefore has significance as historical documents. Needlework in Lu-embroidery style, made or brought to Korea in the late Joseon period represent the literary preferences of the ruling class at the time and also hold diverse information on localized embroidery in Joseon, including Ahn Joo-embroidery, closely associated with Shandong.</br>Kkonsa existed since the ancient times, but was eclipsed in popularity by p’unsa, used in painted embroidery in medieval period in East Asia. It regained dominance again during the Yuan dynasty. In the late Yuan period, Lu-embroidery reached another golden age as Shandong Lu-embroidery employed kkonsa, a type of twisted embroidery thread rather than p’unsa, a type of silk thread, and as new techniques of more diversity and refinedness were developed. Shandong Lu-embroidery is also called uiseonsu, meaning embroidery for clothes, as kkonsa was widely used as being suitable for more sturdy costumes. In Nopakchiplam, it is recorded that new types of embroidery threads were used in Joseon as well. Conclusively, this study compared the Lu embroidery style works at the National Museum of Korea and the works of Ming-Qing period, and examined how kkonsa were used in Joseon. The iconography and style of embroidered Lotus Pond and Waterfowl and narrative figure paintings, and the use of Joseon royal style two-strands Jeonggumsa, royal embroidery, folk embroidery and Ahn Joo-embroidery were all considered for more comprehensive understanding.
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Baykaoglu, Nursel, and Hatice Feriha Akpinarli. "Sample of German embroidery from the hand embroidery applications in the city of Kahramanmaras." Global Journal of Arts Education 10, no. 1 (February 28, 2020): 85–92. http://dx.doi.org/10.18844/gjae.v10i1.4793.

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Forming one of the most important branches of our culture and traditional arts, embroidery was born by sewing in a decorative way and it is worth mentioning that it is as early as humanity. Embroidered clothing on the sculptures excavated and the narration that the daughter of Noah in Hebrew history wears an embroidered belt shows that this branch of art goes back to earlier times. Hand embroidery, which is the products of intelligence, skill and subtle wit, has reached the current time by preserving its value. Out of a great many embroidery techniques reaching large public masses, a technique called ‘German Embroidery’ was encountered in the researches carried out in the city of Kahramanmaras and its towns in the years 2013–2014. According to the information obtained from the source people in the research carried out in the city of Kahramanmaras, German Embroidery dating back to earlier times is not produced today; however, we are likely to find pillows, clothes and dresses embroidered with German Embroidery in houses. In the current paper, embroidery samples were determined in order to unveil this technique that was embroidered on any kind of cloth with a plain surface and it was aimed to make the embroidery alive and to promote it by analysing the way of embroidering. Keywords: Embroidery, ornament, technique, traditional.
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Larkin, Alison. "Replicating Captain Cook's Waistcoat: Exploring the Skills of a Named Embroiderer during the Eighteenth Century." Costume 51, no. 1 (March 2017): 54–77. http://dx.doi.org/10.3366/cost.2017.0005.

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This article discusses a project to replicate an unfinished waistcoat believed to have been embroidered in the late 1770s for Captain James Cook by his wife, Elizabeth. The intention was to explore the techniques of embroidery used during the eighteenth century, and to replicate a garment belonging to a major historical figure. The original waistcoat was embroidered on Tahitian tapa cloth with a linen backing. The embroidery used silk and metallic thread and silver-plated spangles, employing chain stitch, long-and-short stitch and tambouring. The replica was completed using materials closely approximating those available in the 1770s, and constructed using eighteenth-century methods. The project has shed light on the skills and abilities of a known amateur embroiderer of the late eighteenth century, in addition to providing insight into the tastes and physical characteristics of an important historical figure.
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Brovarets, Tetiana. "“Oh, My Thoughts, My Thoughts…”: Olena Pchilka’s and Lesia Ukrainka’s Contributions to Epigraphic Embroidery." Kyiv-Mohyla Humanities Journal, no. 8 (December 24, 2021): 147–62. http://dx.doi.org/10.18523/kmhj249198.2021-8.147-162.

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The article focuses on the role of Olena Pchilka1 and Lesia Ukrainka in epigraphic embroidery development. Undoubtedly, Olena Pchilka was an ardent proponent of folk art purity. Following from this, there is a tendency to think that she was against all novelty in Ukrainian embroidery. Many researchers and antiquity enthusiasts refer to her authority when arguing against inscriptions on textile as a phenomenon resulting largely from printed cross-stitch on paper. However, not all embroidered verbal texts have been of print origin. Most of them were folkloric (or folklorized) texts. What is more, Olena Pchilka to some extent provided her own comment on epigraphic embroidery in approving Lesia Ukrainka’s rushnyk (embroidered runner) containing the inscription “Oh, my thoughts, my thoughts, woe is with you! Love one another, brethren, love Ukraine” (devoted to Taras Shevchenko). In modern embroidery, embroideresses reproduce the citation with new connotations of these words, thereby continuing the epigraphic embroidery tradition. The author illustrates the folklorization of oft-cited lines from Taras Shevchenko’s poetry with examples of epigraphic embroidery from her own Interactive Index of Folklore Formulas (Epigraphic Embroidery).
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İntiqam qızı Məmmədova, Şəhla. "About medieval embroiders and embroidery craft in Azerbaijan." SCIENTIFIC WORK 69, no. 08 (August 23, 2021): 26–31. http://dx.doi.org/10.36719/2663-4619/69/26-31.

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Embroidery is the craft of decorating fabric or other materials using a needle to apply thread or yarn. Embroidery may also incorporate other materials such as pearls, beads, quills, and sequins. In modern days, embroidery is usually seen on caps, hats, coats, blankets, dress shirts, denim, dresses, stockings, and golf shirts. Embroidery is available with a wide variety of thread or yarn color. Embroidery can be classified according to what degree the design takes into account the nature of the base material and by the relationship of stitch placement to the fabric. The main categories are free or surface embroidery, counted embroidery, and needlepoint or canvas work. Embroidery was an important art in the Medieval Islamic world and in Azerbaijan, too. The article dedicated to the medieval embroidery of Azerbaijan. It was given some information about this part of weaving craft. Key words: weaving, embroidery, textile, archaeology, ethnography
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Dutta, Anirban, and Biswapati Chatterjee. "Development of prediction model through linear multiple regression for the prediction and analysis of the GSM of embroidered fabric." Research Journal of Textile and Apparel 24, no. 1 (January 11, 2020): 53–71. http://dx.doi.org/10.1108/rjta-07-2019-0033.

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Purpose The purpose of this paper is to establish the regression equation based upon a set of samples prepared through structured design of experiment and form a prediction model for prediction of the areal density gram per square meter (GSM) of the embroidered fabrics and study the influence of basic input parameters. Design/methodology/approach Embroidery samples are prepared taking input parameters as GSM of the base fabric, linear density of the embroidery thread and stitch density of the embroidery design. Three levels of values are identified for each of the input parameters. Taguchi and Box-Behnken experiment design principles are used to prepare two sets of samples. Linear multiple regression is used to determine the prediction equations based upon each of the two sets and the combined set as well. Prediction equations are statistically verified for the prediction accuracy. Also, surface curves are prepared to study the influence of embroidery parameters on the GSM. Findings It is found that all the three prediction models developed in this study can predict with a very satisfactory level of accuracy. However, the regression equation based upon the data set prepared according to Taguchi experiment design is emerged as the prediction model with highest level of prediction accuracy. Corresponding equation coefficients and several three-dimensional surface curves are used to study the influence of embroidery parameters and it is found that the stitch density is the most influential input parameter followed by stitch length and the GSM of base fabric. Research limitations/implications This can be used to assess the GSM of embroidered fabrics before starting the actual embroidery process. So, this model can help the embroidery designers significantly to pre-estimate the GSM of the embroidered fabrics and select the design parameters accordingly. Also, this model can be a useful tool for estimation of thread consumption and thread cost in embroidery. Practical implications The input parameters used here are very basic parameters related to design and materials, which can be easily available. And also, a simple linear multiple regression is used to make the prediction equation simple and easy to use. So, this model can help the embroidery designers or garment designers to select/adjust the embroidery parameters and thread parameters accordingly in the planning and designing stage itself to ensure that the GSM of embroidered fabrics remains within desirable range. Also, this prediction model developed hereby may be a very useful tool for estimation of the consumption and cost of embroidery threads. Originality/value This paper presents a very fundamental study to reveal the effect of embroidery parameters on the GSM, through development of regression equations. It can help future researchers in optimizations of input parameters and forming a technical guideline for the embroidery designers for selection of the design parameters for a desired GSM of embroidered fabric.
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Dai, Srilian Laxmiwaty, and Irma e. Charisma Hatibie. "Strategi Pemasaran Sulaman Karawo Di Destinasi Pariwisata Gorontalo." JURNAL DESTINASI PARIWISATA 9, no. 1 (June 30, 2021): 14. http://dx.doi.org/10.24843/jdepar.2021.v09.i01.p02.

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This research analyzes Karawo embroidery's developmentas one of Gorontalo's cultural heritagesat Gorontalo tourist destinations. Culture is an identity of a region that becomes a heritage through generations. Culture also becomes a crucial part in the tourism industry because it is interesting for tourists curiosity about new and unique things. On the other side, tourism is also an industry to preserve culture.Therefore, it is essential to figure out the development position of Karawo embroideryso thatKarawo can be existed to develop Gorontalo tourism industry.This descriptive qualitative research employs Product Life Cycle Theory. This research aims to identified development position Karawo embroidery and formulate its marketing strategy in Gorontalo tourist destination. Based on research, the position of Karawo embroidery is in the growth stage. Based on that result, the strategies that can be formulated to improve Karawo marketing in Gorontalo touristdestination are;(1) making advertisement and strengthening the merk, (2) expanding the distribution, (3) increasing product quality through creativity dan innovation, (4) decreasing the product cost, and (5) doing such a big promotion. Keywords:Strategy, Karawo Embroidery, Tourist Destination
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Liao, Jiangbo, Chunguang Ren, and Xiaoming Yang. "Research on Grass Cloth Art Embroidery of Characteristics and Handmade." Asian Social Science 12, no. 9 (August 25, 2016): 44. http://dx.doi.org/10.5539/ass.v12n9p44.

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<p class="a"><span lang="EN-US">Grass cloth is made of ramie fiber. Grass cloth art embroidery is based on the evolution of folk Ma embroidery in China. The paper through trace Chinese ramie and Ma embroidery of the history, show the origin of grass cloth art embroidery. By visited Yuzhou grass cloth embroidery workshop in Jiangxi province, reveal the key technology about grass cloth art embroidery of handmade, sum up grass cloth art embroidery of characteristics. Research shows that grass cloth art embroidery used grass cloth as embroidered bottom to integrate calligraphy and painting of theme, turn to the artistic decoration of style. However, grass cloth art embroidery fine works mainly by copying the ancients paintings, so that lack creativity. Inheritance and development of grass cloth embroidery, it needs to develop their own original works.</span></p>
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Qi, Yan, Xue Rong Fan, and Rong Rong Cui. "Lu Embroidery Patterns on Costumes in Shandong Province." Advanced Materials Research 821-822 (September 2013): 717–20. http://dx.doi.org/10.4028/www.scientific.net/amr.821-822.717.

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Lu embroidery, one of the famous embroideries in Shandong province of China, is the earliest recorded Chinese embroidered species found in historical documents of China. Lu embroidery patterns on costumes have a wide range of subjects; their folk contents coagulate plenty of folk emotions. The motifs of Lu embroidery patterns on costumes express the totemism and the nature worship. They are the rites of passage and spiritual religious expressions. The cultural connotations in Lu embroidery patterns on costumes can inspire current designs, provide useful references for contemporary fashion designers and promote the development of embroidery costume markets.
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RIPKA, Galyna, and Iryna ZASORNOVA. "METHOD OF ESTIMATING THE EFFECT OF CONTOURS EMBROIDERED ELEMENT ON PHYSICAL AND MECHANICAL PROPERTIES OF FABRICS." HERALD OF KHMELNYTSKYI NATIONAL UNIVERSITY 299, no. 4 (October 2021): 187–91. http://dx.doi.org/10.31891/2307-5732-2021-299-4-187-191.

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Computer embroidery is one of the modern types of garment decoration. But in our country this industry is insufficiently studied. Instead, today there are entire associations of embroidery companies abroad, periodicals are published, special schools operate, international conferences are held, and Internet conferences on computer embroidery are organized. The article discusses the issues of improving the quality of applying an embroidered element to a textile material in order to increase the competitiveness of garments in the domestic market of goods and services. It was found that during machine embroidery, the most vulnerable point is the border of the “fabric-embroidery” system. If the embroidered pattern along the contours of the edge is characterized as a “straight line”, then the maximum value of the destruction of the samples at the warp occurs with tatami stitches, and weft with tatami stitches and zigzag. When the pattern is embroidered in the form of a circle, the destruction already occurs not only along the perimeter of the “arc line”, but also in the middle. If the embroidered pattern is a rectangle with wavy edges, in contrast to the straight and arc border lines in the system “fabric-embroidery”, the process of destruction occurs within, starting from the upper and then the lower contours. There is also a decrease in rupture characteristics at (S), (Z), and (T) –stitches. When studying the effect of embroidery needles on the physical and mechanical characteristics of textile materials, it was experimentally established that this process should be attributed to the destructive, the degree of which depends on their number, as well as the step and type of stitches. This is evidenced by the increase in the values of the coefficient of air permeability of the samples of materials and the decrease in the breaking indicators in comparison with the initial values. Thus, the research and their analysis shows that the degree of change in rupture characteristics, as a control indicator, primarily depends on the contour of the edge of the pattern, as well as the type of computer embroidery weave, but the greatest influence of these factors occurs when the geometry of the system boundary ” fabric-embroidery “is a straight line, and the smallest – a wavy line that does not contradict the mathematical model, the conclusions of which were used in the design of the embroidered element for children’s clothing (pants).
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Dissertations / Theses on the topic "Embroidery"

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Erla, Adamsdóttir Lilý. "Tension Attention! : Dancing Embroidery." Thesis, Högskolan i Borås, Akademin för textil, teknik och ekonomi, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-12400.

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This Master’s degree project explores the design possibilities of thread tension, to create a transformation in an interactive, 3D embroidered, wooden surface. The aim is to create a playful visual expression on a surface triggered by interaction. The surface is manipulated by embroidery and the embroidery is manipulated by the tension in the thread. Together all parts create a simple mechanism that allows the viewer to sink into a playful loop of a rising and collapsing structure. Dancing embroidery.  The work explores the potential of the thread as a key factor together with interaction to make a transformation of a surface possible. The thread is used both in the function of the surface and at the same time it creates a strong visual expression as it stands out to show its strength and power.
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Montesino, Hammarskjöld Teresa. "Crafting-design : Tuft meets Embroidery." Thesis, Högskolan i Borås, Akademin för textil, teknik och ekonomi, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-24034.

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This project combines industrial tuft with handmade embroidery in order to explore various combinations of textured surfaces, materials and colors. The purpose is to investigate a meeting between craft and design by focusing on the encounter between the compact and the loose, the assembly of materials, as well as variations in levels and heights. The works are mainly based on recycled materials. Three textiles pieces were designed: a First Piece focuses on the meeting between craft and design; the Second Piece relates to different textures and the Third Piece addresses growth. The combination of hand embroidery and tufting create diversity and nuances in expressions, forms and textures. The small-scale of hand-embroidery permits the use of materials difficult or impossible to handle in machines and thus break the monotony of tuft. Through the tufting technique, larger compact pieces are produced that have depth and are sound-absorbent. This project aims to create a bridge between craft and design in the field of textile design.
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Brito, Thais Fernanda Salves de. "Bordados e bordadeiras. Um estudo etnográfico sobre a produção artesanal de bordados em Caicó-RN." Universidade de São Paulo, 2011. http://www.teses.usp.br/teses/disponiveis/8/8134/tde-15122011-175001/.

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Bordados e bordadeiras, um estudo etnográfico sobre a produção artesanal de bordados em Caicó/RN tem objetivo investigar como o bordado uma prática artesanal, doméstica, feminina permite acessar questões de ordem social, econômica, histórica e cultural de uma determinada região do nordeste brasileiro. As redes sociais, tecidas em torno da produção do bordado, são hábeis para recriar relações várias em função das necessidades, das influências, das confluências, das apropriações e das transformações em torno da prática artesanal. Por isso, esta tese se dedica a apresentar, descrever e analisar o bordado como um eixo das relações sociais, fornecendo, ainda, pistas para novas leituras sobre uma região estigmatizada pelas ideias que cercam a sua geografia e sua história. Para investigar esse processo, a etnografia foi utilizada como método (incluindo: entrevistas, foto-entrevistas, acompanhamento do processo de produção e de comercialização de bordados). E, a fim de percorrer as múltiplas relações que se tecem nesse contexto, foram priorizados: (a) apresentação da região e da cidade, (b) descrição dos bordados, (c) elaboração da rede composta pelas bordadeiras e (d) bordados em circulação.
Embroidery and embroider, an ethnographic study on the craft production of embroidery in Caicó/RN aims at investigating how the embroidery, a handcraft, domestic and female practice, allows the approaches of questions about certain part of the Brazilian northeast regarding its social order, its economy, its history and its cultural factors. The social networks, woven around the embroidery production, are capable to recreate several relationships regarding the needs, the influences, the confluences, the appropriations and the transformations around the handmade practice. Therefore, this thesis has the purpose of presenting, describing and analyzing the embroidery as a spindle of the social relationships, which also provides leads to new readings about a stigmatized region regarding the ideas related to its geography and history. To investigate this process, the ethnographic method was used (including: interviews, photographic-interviews, monitoring of the production process as well as the embroidery commercialization). In order to wander the multiple relationships that weave in this context, the following has been prioritized: (a) the presentation of the region and the city, (b) the description of the embroideries, (c) the elaboration of embroiders network and (d) the embroidery in circulation.
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Wood, Susan, and s2000093@student rmit edu au. "Creative embroidery in New South Wales, 1960 - 1975." RMIT University. Architecture and Design, 2006. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20070206.160246.

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In the years between 1960 and 1975 in NSW there emerged a loosely connected network of women interested in modern or creative embroidery. The Embroiderers' Guild of NSW served as a focus for many of these women, providing opportunities for them to exhibit their work, and to engage in embroidery education as teachers or as learners. Others worked independently, exhibited in commercial galleries and endeavoured to establish reputations as professional artists. Some of these women were trained artists and wanted embroidery to be seen as 'art'; others were enthusiastic amateurs, engaged in embroidery as a form of 'serious leisure'. They played a significant role in the development of creative embroidery and textile art in NSW and yet, for the most part, their story is absent from the narratives of Australian art and craft history. These women were involved in a network of interactions which displayed many of the characteristics of more organised art worlds, as posite d by sociologist Howard Becker. They produced work according to shared conventions, they established co-operative links with each other and with other organisations, they organised educational opportunities to encourage others to take up creative embroidery and they mounted exhibitions to facilitate engagement with a public audience. Although their absence from the literature suggests that they operated in isolation, my research indicates that there were many points of contact between the embroidery world, the broader craft world and the fine art community in NSW. This thesis examines the context in which creative embroiderers worked, discusses the careers of key individuals working at this time, explores the interactions between them, and evaluates the influence that they had on later practice in embroidery and textiles in NSW.
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LEAL, MARIA TERESA ROMEIRO. "THE CONTEMPORARY EMBROIDERY: HANDWORK AND ELECTRONIC PROCESS." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2018. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=36157@1.

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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO
COORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR
PROGRAMA DE SUPORTE À PÓS-GRADUAÇÃO DE INSTITUIÇÕES COMUNITÁRIAS DE ENSINO PARTICULARES
Os processos eletrônicos alteram os conceitos básicos do fazer artesanal e, portanto, o conceito de bordado também se altera. Diante dessa ruptura, surge a justificativa desse trabalho: a análise dos bordados, sejam manuais ou eletrônicos. Este trabalho busca investigar o bordado para debater as transformações ocorridas ao longo do tempo, incluindo a utilização de novas tecnologias, examinando se é coerente dizer que as máquinas eletrônicas bordam. A metodologia aplicada inclui diferentes etapas, iniciando pela checagem dos temas e dos contextos relacionados para examinar o bordado, aferindo os seus diferentes processos de produção: o trabalho manual e o sistema eletrônico. A pesquisa também tem por base uma revisão teórica dos conceitos apresentados. A discussão a respeito da evolução do artesanato no Brasil conduz o olhar para a nossa prática, ilustrando o debate com o trabalho realizado na Cooperativa de Trabalho Artesanal e de Costura da Rocinha Ltda - até recentemente reconhecida como COOPA-ROCA. A experiência aprofunda a reflexão a respeito de uma cultura metodológica relacionada ao bordado manual, elucidando o papel do consumidor.
Electronic processes change the basic concepts of making crafts, and therefore the concept of embroidery also changes. Faced with this disruption, the justification of this work emerge: the analysis of the embroideries, either manual or electronic. This work seeks to investigate the embroidery to discuss the transformations that occurred over time, including the use of new technologies, examining whether it is coherent to say that the electronic machines does embroideries. The methodology was organized in different stages, starting with the checking of the topics and related contexts to examine the embroidery, assessing their different production processes: the manual work and the electronic system. The research is also based on a theoretical revision of the presented concepts. The discussion about the evolution of handicrafts in Brazil leads to a look at our practice, illustrating the debate with the work carried out at the Cooperativa de Trabalho Artesanal e de Costura da Rocinha Ltda - until lately recognized as COOPA-ROCA. The experience deepens the reflection about a methodological culture for the manual embroidery, elucidating the role of the consumer.
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Furniss, Beverly. "Stitched in time: a progressive interpretation of embroidery." AUT University, 2009. http://hdl.handle.net/10292/947.

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This practice-based art and design project explores the potential use of contemporary materials and techniques in relation to extending aesthetic and structural possibilities of embroidery, with a focus on developing textile formations through the medium of ‘free stitch’ machine embroidery. Embroidery is often perceived by the non-enthusiast as a ‘granny craft’: an ‘old’ technique. Contemporary representations of embroidery suggest that new and innovative interpretations exist. Through investigation and experimentation with products, textiles and techniques, the embroidered artefacts that I have crafted are intended to disrupt the conventional perceptions of embroidery by alluding to conceptual associations of tradition and nostalgia. The aim of this project is to promote embroidery as a diverse medium; its use as a means of narrative, a valued skill that spans both art and craft disciplines, and to lift the status of craft by encouraging discourse of craft practice within an academic environment.
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Gardner, Simon Paul. "The use of embroidery techniques in structural composites." Thesis, University of Nottingham, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.362892.

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Bond, Kay. "Design of a novel high speed embroidery machine." Thesis, University of Nottingham, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.282780.

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Bowden, Antonia Michelle. "Stitching individuality through conformity reading samplers form the Sarah Stivours embroidery school /." Auburn, Ala., 2007. http://repo.lib.auburn.edu/2007%20Spring%20Theses/BOWDEN_ANTONIA_9.pdf.

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Cluckie, Linda. "Embroidery, business enterprise and philanthropic ventures in nineteenth century Britain." Thesis, Sheffield Hallam University, 2006. http://shura.shu.ac.uk/3199/.

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In the nineteenth century a new form of needlework 'Art Embroidery' fuelled entrepreneurial ventures. The significance of these ventures will be explored and the contribution made by women employed in this industry, investigating their prevalent working practices and relating this to our understanding of gender history. The embroidery ventures stimulated the commercial side of embroidery in the late nineteenth century, mobilising commercial activity through numerous agencies, department stores, depots and charitable institutions. Embroidery took on the form of a major commercial enterprise, and in examining these important developments, the thesis will evaluate the organisational structure of these enterprises, their marketing techniques and their relationship to their predominantly female workforce. The theme of business enterprise is the conduit which runs throughout, yet it is not intended as an economic history, rather business history as social history. The growth and development of 'Art Embroidery' in Britain circa 1870-1890 will be explored giving special consideration to the support received from the art establishment in designing for and educating embroiderers. The art fraternity promoted embroidery as a commodity providing income for women. Finally the thesis will examine the decline of the embroidery business in the British Isles, as work was sent overseas where labour was cheaper. The thesis will make a valuable contribution to our understanding of the embroidery business, the dynamics shaping its development and the role of women employed in the industry. In particular the thesis will reveal the economic significance of the embroidery business to female employment in the nineteenth century, which has been hidden from view, mainly due to employing outworkers, a hidden workforce. Though a social history, the thesis will demonstrate this hidden workforce made a contribution to the British economy.
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Books on the topic "Embroidery"

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Niekerk, Di Van. Embroidered alphabets: With ribbon embroidery. Tunbridge Wells, Kent: Search, 2009.

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June, Bradford, ed. Embroidery. Toronto: Kids Can Press, 2004.

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June, Bradford, ed. Embroidery. New York: Scholastic Inc., 2006.

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Pauline, Brown, ed. Embroidery. London: Tiger Books International, 1990.

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Pauline, Brown, and Marshall Editions Ltd, eds. Embroidery. New York: Villard Books, 1987.

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Lindner, Michael. Creative embroidery. Twickenham: Hamlyn, 1985.

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Bhushan, Jamila Brij. Indian embroidery. New Delhi: Publications Division, Ministry of Information and Broadcasting, Govt. of India, 1990.

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Rich, Annette. Botanical embroidery. Bowral, N.S.W: Sally Milner, 2000.

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Wang, Ya-jong. Chinese embroidery. Tokyo: Kodansha International, 1987.

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Mogensen, Felton. Embroidery Guide : Create Beautiful Embroidered Projects: Use Embroidery Threads. Independently Published, 2021.

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Book chapters on the topic "Embroidery"

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Gooch, Jan W. "Embroidery." In Encyclopedic Dictionary of Polymers, 264. New York, NY: Springer New York, 2011. http://dx.doi.org/10.1007/978-1-4419-6247-8_4365.

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Picton, John, and John Mack. "Embroidery." In African Textiles, 187–201. New York: Routledge, 2021. http://dx.doi.org/10.4324/9780429034831-10.

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"Embroidery." In Encyclopedic Dictionary of Polymers, 355. New York, NY: Springer New York, 2007. http://dx.doi.org/10.1007/978-0-387-30160-0_4304.

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"Embroidery." In The Visual Dictionary of Illustration, 89. AVA Publishing SA Distributed by Thames & Hudson (ex-North America) Distributed in the USA & Canada by: English Language Support Office, 2009. http://dx.doi.org/10.5040/9781474293754.0077.

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"Embroidery." In The Visual Dictionary of Fashion Design, 102. AVA Publishing SA Distributed by Thames & Hudson (ex-North America) Distributed in the USA & Canada by: English Language Support Office, 2007. http://dx.doi.org/10.5040/9781474218573.0090.

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"Embroidery." In Clothing the New World Church, 69–114. University of Notre Dame Press, 2021. http://dx.doi.org/10.2307/j.ctv19m650j.7.

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"embroidery." In The Fairchild Books Dictionary of Fashion. Fairchild Books, 2022. http://dx.doi.org/10.5040/9781501365287.928.

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"embroidery." In The Fairchild Books Dictionary of Interior Design. Fairchild Books, 2021. http://dx.doi.org/10.5040/9781501365171.1459.

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"embroidery." In The Fairchild Books Dictionary of Textiles. Fairchild Books, 2021. http://dx.doi.org/10.5040/9781501365072.5510.

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Baker, Sarah Joy. "Embroidery, Resilience, and Discovery." In Healing Through the Arts for Non-Clinical Practitioners, 86–107. IGI Global, 2019. http://dx.doi.org/10.4018/978-1-5225-5981-8.ch007.

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This chapter explores how embroidery as a visual mapping tool can address situations of historical trauma and increase community resilience through a process of conscientisation and grassroots organizing. The author will draw from her fieldwork with a group of indigenous Wayuu women in the Guajira Peninsula in northern Colombia, a region that has been significantly affected by climate change and decades of armed conflict. The women created embroidered maps of their daily lives, analyzed these maps for common themes and challenges, identified the root causes of the oppression they experience daily, and discussed action steps to address these power disparities. The author suggests that embroidery is a powerful healing tool for engaging indigenous women in a dignified manner by illuminating their narratives of resilience in order to address historical trauma.
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Conference papers on the topic "Embroidery"

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Yang, Chen, Xinrong Hu, Yangjun Ou, Saishang Zhong, Tao Peng, Lei Zhu, Ping Li, and Bin Sheng. "Unsupervised Embroidery Generation Using Embroidery Channel Attention." In VRCAI '22: The 18th ACM SIGGRAPH International Conference on Virtual-Reality Continuum and its Applications in Industry. New York, NY, USA: ACM, 2022. http://dx.doi.org/10.1145/3574131.3574430.

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Luo, Zijian, Zixiang Hong, Xiaoyu Ge, Junling Zhuang, Xin Tang, Zhehan Du, Yue Tao, et al. "Embroiderer: Do-It-Yourself Embroidery Aided with Digital Tools." In CHCHI 2023: Chinese CHI 2023. New York, NY, USA: ACM, 2023. http://dx.doi.org/10.1145/3629606.3630200.

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Jones, Lee, and Sara Nabil. "Goldwork Embroidery." In C&C '22: Creativity and Cognition. New York, NY, USA: ACM, 2022. http://dx.doi.org/10.1145/3527927.3532809.

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Lee, Yi-Chin, and Daniel Cardoso Llach. "Hybrid embroidery." In SIGGRAPH '20: Special Interest Group on Computer Graphics and Interactive Techniques Conference. New York, NY, USA: ACM, 2020. http://dx.doi.org/10.1145/3386567.3388575.

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Tahir, Hasan Riaz, Sanaul Sujan, Benny Malengier, and Lieva Van Langenhove. "Embroidery Triboelectric Nanogenerator." In E-Textiles 2023. Basel Switzerland: MDPI, 2024. http://dx.doi.org/10.3390/engproc2023052007.

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Nabila, Ayesha, Hua Ma, and Junichi Yamaoka. "4D Embroidery: Implementing Parametric Structures in Textiles for Sculptural Embroidery." In UbiComp/ISWC '22: The 2022 ACM International Joint Conference on Pervasive and Ubiquitous Computing. New York, NY, USA: ACM, 2022. http://dx.doi.org/10.1145/3544793.3560358.

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Wolz, Ursula, Michael Auschauer, and Andrea Mayr-Stalder. "Programming embroidery with turtlestitch." In SIGGRAPH '19: Special Interest Group on Computer Graphics and Interactive Techniques Conference. New York, NY, USA: ACM, 2019. http://dx.doi.org/10.1145/3306306.3328002.

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Митрофанова, Н. Ю. "SAMPLER. STORIES IN EMBROIDERY." In КОДЫ. ИСТОРИИ В ТЕКСТИЛЕ. Crossref, 2024. http://dx.doi.org/10.54874/9785605162971.2024.3.19.

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Сэмплер как образец рукоделия известен с эпохи Средневековья. Он появляется как способ фиксации приемов вышивания. Со временем форма сэмплера меняется, расширяются его функции. Он превращается в кладезь ремесленной мудрости, становится основой для развития художественного вкуса и фантазии, базой для выработки трудолюбия и аккуратности, средством воспитания религиозного чувства, а также инструментом образования и постижения наук. Сэмплер — это история в текстиле о создавшем его человеке и о времени. The sampler as an example of handicraft has been known since the Middle Ages. It appears as a way to record embroidery techniques. Over time, the shape of the sampler changes and its functions expand. It turns into a storehouse of craft wisdom, becomes the basis for the development of artistic taste and imagination, the basis for developing diligence and accuracy, a means of nurturing religious feelings, as well as an instrument for education and comprehension of sciences. A sampler is a textile story about a person who created it.
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Kivuva, F. Megumi, Jayne Everson, Camilo Montes De Haro, and Amy J. Ko. "Cultural-Centric Computational Embroidery." In SIGCSE 2024: The 55th ACM Technical Symposium on Computer Science Education. New York, NY, USA: ACM, 2024. http://dx.doi.org/10.1145/3626252.3630818.

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Kimmer, C. J., and C. K. Harnett. "Combining Strings and Fibers With Additive Manufacturing Designs." In ASME 2016 International Design Engineering Technical Conferences and Computers and Information in Engineering Conference. American Society of Mechanical Engineers, 2016. http://dx.doi.org/10.1115/detc2016-59569.

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High tensile strength cables, low-resistance motor windings, and shape memory actuators are common examples of technical fibers used in robots and other electromechanical assemblies. Because properties like tensile strength, crystal structure, and polymer alignment depend strongly on processing history, these materials cannot be 3D printed with the same properties they have on the spool. Strings and fibers are inserted in mechanical parts at the end of the manufacturing process for these assemblies. When the fibers take complex paths, the installation is often done by hand. This activity can dominate the process time, increase its human labor and reduce its social sustainability [1]. This paper applies the non-traditional approach of machine embroidery to insert sheets of patterned fibers in layered additive manufacturing processes such as 3D printing and lamination. Fibers are aligned with features in laser-cut or printed parts without the manual labor of hand threading. We demonstrate that water-soluble stabilizer materials originally designed for textiles can hold hard mechanical parts in a machine embroidery hoop with enough strength and rigidity to withstand sewing through pre-existing holes in the part. Alignment to within 250 microns has been demonstrated with a sub-$300 consumer embroidery machine. Case studies in this paper include a cable-driven mechanism, a soft-to-hard electronic connection, and an electromechanical sensor. Process-compatible and commercially available materials that can be embroidered include conductive threads, shrinking threads, water-soluble threads and high tensile strength fibers. The biggest hurdle for a user interested in this automated fiber installation process is linking the existing design file with an embroidery machine file. There is a much larger user base for 2D and 3D computer-assisted design (CAD) software than for expensive and proprietary embroidery digitizing software. We take the route chosen by the laser cutter industry, where the user produces a CAD file in their preferred editor, and makes annotations that communicate where and how densely to stitch. Translation software scans the file for a particular line style and generates stitch coordinates along it. Development is done in Jupyter/iPython notebooks that allow end-users to inspect, understand, and modify the conversion code. The intent is for users of existing planar fabrication technology (whether laser, printed circuit board, or micro/nano) to apply this method to their own CAD files for a versatile and straightforward way to put advanced materials in their devices without adding manual labor. This general approach can solve a class of assembly problems relevant to underactuated tendon-driven robotics and other electromechanical systems, expanding the range of devices that can be put together using automation.
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Reports on the topic "Embroidery"

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Rorah, Whitney. Engineered Embroidery. Ames: Iowa State University, Digital Repository, 2014. http://dx.doi.org/10.31274/itaa_proceedings-180814-1071.

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Alexander, Theresa. Embroidery and Beading Design for Fashion. Ames: Iowa State University, Digital Repository, November 2016. http://dx.doi.org/10.31274/itaa_proceedings-180814-440.

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Ejeimi, Diane, and Sparks. Revival of Hejaz Tribal Embroidery Using Digital Design Technology. Ames: Iowa State University, Digital Repository, November 2015. http://dx.doi.org/10.31274/itaa_proceedings-180814-1234.

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Bennur, Shubhapriya, and Laxmidevi Gavai. How did the Regional Traditional Indian Embroidery “Kasuti” Reach the International Markets? Ames: Iowa State University, Digital Repository, 2013. http://dx.doi.org/10.31274/itaa_proceedings-180814-625.

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Alexander, Theresa Christine. The Designer/Embroiderer Relationship: A Comparison between Europe and India. Ames: Iowa State University, Digital Repository, November 2016. http://dx.doi.org/10.31274/itaa_proceedings-180814-1483.

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Alexander, Theresa. Why I Became an Embroiderer: Choices of High Fashion Embroiderers from Europe. Ames: Iowa State University, Digital Repository, November 2015. http://dx.doi.org/10.31274/itaa_proceedings-180814-56.

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