Selecting and Identifying 1.2

Brief
Consider the following questions in relation to each of your three textile samples. Write
down your responses, ideas, thinking, information – and any problems you encounter whilst responding to these questions – in your learning log.
The questions below are separated into two loose groupings to allow you to consider the
substance and the story of the textiles you’ve chosen. If you’re new to studying textiles,
don’t worry if you can’t answer all these questions – but do take note of them so that you
can start to see what’s involved in practical research into textile properties.

Blog posts about my 3 chosen items – Substance and Story

Appointment 1 – The Kneeler for William Wavell Wakefield

So, I know to look at, it doesn’t seem like much but this is 105 years old, it has probably been thrown like a frisbee and treated with less respect than it deserves, as well as knelt on in every chapel service that Wavell attended for the 4/5 years he was at the school! 20170713_094923

This item just really drew me in. It is a textile fabric made up of other textiles. It has a history, it is simple but full of detail. The boy it belonged to came to be a very successful and important man.

The kneeler is made from an even weave cotton canvas with tapestry wool cross stitches, it is backed with plain black cotton and stuffed with feathers rather than down. I did a spot of research on this fact and whereas down is great for pillows and quilts it lacks structure for something like a kneeler, the thicker structure of the feathers make the kneeler more sturdy and durable.

This is the herald for Roger Lupton, the founder of Sedbergh School in 1525 – then know as the Free Grammar School of Roger Lupton. The Key elements and their meanings are as follows:
Scallop shells – represent the pilgrimage made to the shrine of St. James of Compostella in Northern Spain. Signifying that the education these boys receive is likened to a pilgrimage or journey.
The T shape – represents a crutch – christian iconography – signifying the support that the young men receive through a good education.
Severed Wolf heads – The wolves are thought to be a play on Mr Lupton’s name… lupus meaning wolf. But it is to be noted that they are severed and not simply a wolfs head motif!
Lilies – They are the traditional or typical Madonna lilies that appear in heraldry, representing the Virgin Mary. In this case they represent Eton College where Lupton was a provost.
Chevron – Not specifically representing anything, just typical heraldry, usually having 3 items on the chevron itself and 3 other items around it, 2 above and 1 below.

Here are the Substance and Story Questions and Answers for this item:

Substance

1. What is the textile made from?

What fibres are employed in its making? Cotton canvas and tapestry wool for the front, cotton fabric for the back and feathers as opposed to down for the stuffing, it is trimmed with a cotton braid around the outside.
Is there a manufacturer’s label or an archival label to give you that information?I have the information that was given when the kneeler was donated to the archive. This is a handmade item so has no manufacturers label. The items in the archive have been looked at by a textile specialist.
If there is no label, are you able to find out some other way? On this occasion it is possible to tell what it is made from by looking and feeling the weights and textures. The age of the piece means that it is unlikely that synthetic fibres were used as they were not available until after around 1910. Similarly it is likely that natural dyes were used to dye the tapestry wool. The first synthetic dye was used in 1856 and was a complete accident. Although other synthetic dyes soon followed. It is possible then that these were used.
How can the textile be cared for? As with all natural protein fibres they must be kept away from humidity and light if they are to survive. When the kneeler was first made it would only have been able to be hand-washed on sponge cleaned.

What methods have been used in its production?

Is it woven, knitted, another form of construction, or is it a non-woven material? (If you don’t know what these terms mean, do some research to find out.) The base fabric for the piece is an open even weave cotton canvas for the front and 100% cotton fabric on the reverse.
Is it handmade or machine-made? Is it possible to know what type of machinery was involved? If it’s hand-made, is the maker identified? It is completely hand made apart for the base canvas and the woven cotton backing which were probably made on some kind of power loom. We know that the maker was William Wavell Wakefield’s mother. This information was given to the archive when it was donated by his daughter in 2015.
What textile finishing methods have been employed? The front and back have been hand sewn together and the braiding attached with hand stitches after the kneeler was stuffed with feathers. I was unsure about whether it was stuffed with down or feathers but after some research it turns out to be feathers, a much better stuffing as down is not as durable for this kind of item.
Is there a print or any form of embellishment, or has a surface finish been added to the original textile? Do you know how this has been achieved? The method used to create the image is cross stitch using a tapestry wool. The image was taken from the Sedbergh School Coat of Arms. She wouldn’t have had a pattern to follow as one had never been created, she would have had to make it up herself. We have no way of knowing if she made her own chart or if she made it up as she went along.

Where is the textile from?

Can you find out this information from labels or from the archive information?The materials would have been bought from a haberdashery shop and Ethel Knott (Wavell’s mother) would have completed it at home. It is impossible to trace exactly where the fabrics would have come from because there is no record of it. All we can do is make educated guesses.
Is it the final product (perhaps a garment the fabric has been made into) that reflects the ‘Made in….’ label? This was the final product. Boys who attended Sedbergh School at that time needed to take a kneeler with them for chapel services. This is not the case now as they are provided for the children by the chapel.
Is it possible to be sure where the fabric is from? It is not possible to say for sure but being as we produced a lot of cotton at the time and we had a strong cotton industry here in the North West of England it is likely that, that is where it came from. The cost of importing things that were readily available at home would have been prohibitive.
Is it possible to know where the original fibres came from? (If you are not sure, again try to do some further research into the fibre types or processes used in order to find out where this is usually done. It could be a country of origin, or even a city or factory.) The raw materials were most likely imported from America from the cotton fields there. Lancashire was where the majority of the raw materials were processed into threads and fabrics.

What problems have you encountered in trying to find out this information?

Why might traceability be important in textiles? There is nothing to say where the fabric was bought or exactly where Ethel was when she made the kneeler, they had a home in Kendal but also lived in London.
Often the provenance of an object is needed to give it value, so makers marks are very important but I think now trace-ability is more important from an ethical standpoint, for example: https://rapanuiclothing.com/traceability-clothing/
Trace-ability helps to provide a buyer with information to decide if they are happy to buy a product or not. People are more conscious about where things come from and the conditions for the people making them. Cost is not the only thing people consider now. Child labour was once accepted as normal but i’m almost certain people would not want to buy products from companies using child labour in the same way now!
What information are you missing and how might you find out more? I am missing the details about the origin of the base fabrics used. It is impossible to find out this information now. Ethel died in 1960 and it is unlikely that she left a record of where she bought it from. We would really just be making educated guesses. But given the cost of imported items over those that can be sourced locally it is unlikely that she would have bought imported fabric at that time for this purpose.

Story

What other visual indications can you glean from closely examining the textile samples? If the textile has been made into a product, what can you learn from further visual examination?

Is it well-worn and heavily used? This item has been well used, there are signs of wear and it is quite grubby with some obvious stains and marks. The seams have come apart in places and this is how I could see what it was stuffed with.
Is it fragile and delicate or durable and sturdy? When it was newly made it would have been very hard wearing but it is now over 100 years old and has become much more fragile.
Can you tell the age of the textile or product? The kneeler was made in 1911/12 for Wavell to use in chapel when he started Sedbergh school in the autumn of 1912.
Are there any indications of patina due to wear and age? Aside from general grubbiness and wear and tear, it has aged well.
Is there evidence of repair or alterations? It is possible that the braid has been stitched back on in places. It is in need of repair.
Can you tell the story or guess the story behind the life of the textile? I like to think that it was a mother creating something for her son to take with him away to school that would remind him of her, so he could take a little piece of her with him. She could have bought one or had one made for him but she chose to make one herself. I imagine it to have had a hard life at the hands of a teenage boy, used for its purpose but also used to wallop his chums with when the masters were not watching! It would have sat in the cold chapel year in year out, it’s a wonder it has survived so well.
The mills remained dangerous places to work, the original cotton fabrics could have a whole other story attached to them and we would never know.

Are there any elements of the design, detail, decoration or construction of the textile sample that indicate a story behind the textile or product? (This could be anything from the use of traditional motifs to t-shirt slogans!)

Can you learn more about these, where they originate from and any background meaning or message? The image on the kneeler is taken from the Sedbergh School coat of arms. The heraldry has changed over the years and is now a full coat of arms awarded to the school by various kings and a Queen. This version was the herald for the founder of the school. Over time it was obvious that the school should have it’s own coat of arms, to include the founders shield but also because of the school’s association with the sovereign they were able to insert the gold border and crowns. I have some extra research about the meaning of each of the parts of the herald which I will put in a research folder.
Are they made to last or are they supposed to be transient? This was an item made to last and it has lasted well. It was made for a purpose. It was always meant to be functional.
Are they personalised in any way or have they been customised or repaired? This is an item that was made specifically for Wavell, it is unlikely that anyone else would have a similar one and almost impossible that there would be an identical one. The year that is stitched, is not the year it was made but the year in which the school was re-founded.

Nostalgia is a recurring theme in textiles and within the broader spheres of design and art. Textiles have a special role to play, as we can attach memories, experiences and sensations, particularly to the wearing of textiles or their close proximity.

Can you build up a story of the users or wearers of the textiles? Wavell’s history is one of great fame in Rugby and Military circles and also being the 1st Baron Wakefield of Kendal, I have put links to various pages on my online learning log relating to his history. I can just imagine him using the kneeler in chapel, the chapel has changed very little in the time between him attending the school and now, services still run now as they would have in his day.
Do you feel any sense of nostalgia in relation to any of the three examples you have chosen? If so, why? If not, why not? The long history is evident in the long standing traditions of the school. I am proud to be a part of it. The school has been modernised over the years but many of the features of the old classrooms remain, it is easy to imagine the boys in the halls making their way to lessons, tormenting each other with their own “banter”. It makes me think of how simple it used to be and how privileged these boys must have felt.
Was this a conscious decision when choosing your samples? Or could it have perhaps been an unconscious decision in your selection? Visiting the school archive was not my first choice, but more that I was running out of options. It was really a string of lucky coincidences that I found this object thanks to my friend, or maybe it found me! I wanted to have a functional 3D object and I thought I would end up with 3 very bright bold patterned items but as I have said elsewhere, it really called out to me. I am probably romanticising it by thinking it as his mother sending him away with a little something to remind him of her but it’s what I would want to do for my children. I am working on having a blanket/quilt for each of my 3 children to leave home with. So this item is not what I expected to be studying but it is a great starting point to a number of ideas I have brewing.
Do you feel that any of your three examples reflect any sense of heritage, whether your own or someone else’s? If so, why and in what way? If not, why not? The kneeler was made at a time when needlework was THE pastime, cross stitch and embroidery were what ladies did in the Edwardian era. The ladies in my family have all done needlework down the generations, some more passionately than others! And I am handing the skills down to my children and any other children that I can. I live in a village where knitting was huge, there were ladies known as “the terrible knitters of Dent” this didn’t mean they were bad at it, terrible in this case meant prolific. I have always had a passion for textiles, and the narrative attached to old pieces. I think the link I now have to the school really helped when setting eyes on the kneeler.

Research on William Wavell Wakefield

Wiki link for WWWakefield

Britanica link WWWakefield

Militarian link WWWakefield

person sheet with information about him and his family.

Peerage link

WWWakefield cig card
This is William Wavell Wakefield. Known as “Wakers” to his school friends. 1st Baron Wakefield of Kendal to many and Wavell to many more.

interesting text from the Sedbergh School Register, we still publish this but it is much more modern as you would expect and it is called the Sedberghian.

Church kneeler kit supplier Our village church purchased kits from this company to replace the tatty old mouldy ones they had. Lots of the villagers got together to complete the kits. It has really brightened the place up.

Photos from the Sedbergh School Archive Visit

Appointment 2 – Museum of Lakeland Life & Industry – Fritillary

I met Dr Rachel Roberts in the research area of the museum where she had pulled out some of the pieces of the Annie Garnett archive that I had asked to see. After my recce visit I had decided I wanted to look at a piece of her weaving called the ‘Fritillary’ and any of the design process work that went with it. The piece was commissioned by Queen Alexandra, Daughter-in-Law of Queen Victoria between 1901 and 1910, we have no idea for what purpose as there is no evidence of any of Annie’s fabric in use. The only information we have is from Annie’s diary as all the accounts and receipts etc. from “The Spinnery” are missing from the archive collection.

The design is loosely based on the plant named Snake’s Head Fritillary. She took all her inspiration from her garden. She grew all the plants herself and has filled hundreds of sketchbooks full of botanical drawings, sketches and watercolours. She was also inspired by the Lake District, where she lived. There would have been three posts a day back then and she used to pick plants or petals, parcel them up and send them to her dyers with the strict instructions to make that exact colour. She used the one of the same dyers as the very famous William Morris – Sir Thomas Wardle of Leek. She was inspired by the Arts and Crafts Movement but it would be a stretch to say she was ‘of’ the movement because she simply wasn’t rich enough to make it happen, she didn’t quite move in the right circles despite using the same people. The Fritillary was woven in a number of colour ways: 20170718_110134

This was considered her most popular or “best” piece of design. However very little remains of the actual process of design to manufacture, we have this initial sketch: 20170718_110121

But the rest seems to be missing. It would have been woven on a Jacquard loom which would have required a number of punch cards to weave the correct pattern, here is a video of a Jacquard Loom in action and it explains exactly how it works.

Here is a link to my Annie Garnett – archive visit photos. This way I can save some space on my blog.

The reason I chose this piece is that I love that the pattern is bold but delicate. It is in the Arts and Crafts style. It’s colours, though muted, work well with each other and have a really simple elegance. It was woven over 100 years ago only a few miles from where I live. The silk was farmed locally and spun in to yarn by local women in their own homes on spinning wheels, it was then woven in to stunning, luxurious fabrics that would only have been in the price range of the well-heeled, including one of Queen Victoria’s daughters and one of her Daughter-in-Laws!

Substance and Story Questions for the Fritillary

Annie Garnett’s Fritillary
Substance

What is the textile made from?

What fibres are employed in its making? The Fritillary was made using silk fibres possibly with natural dyes but more likely chemical/synthetic dyes. Annie’s was most likely to source the best quality raw materials and dyes at the cheapest price.
Is there a manufacturer’s label or an archival label to give you that information?There is no manufacturer’s label, but there is sufficient evidence to show that it was indeed woven in Annie Garnett’s “Spinnery”. There are also pieces of the Fritillary fabric in the V & A museum, this is a link to the entry in their archive. Their label clearly states who made it and where it was made. Annie also sold a small quantity through Liberty of London.
If there is no label, are you able to find out some other way? Information in her sketchbooks and sample books tell us what we need to know about it’s fibres. Again, the V&A have some of her pieces and so their fibre content will have been verified by them.
How can the textile be cared for? This fabric is silk and so is a protein fibre, they are constantly trying to break down. They need to be kept away from light, humidity and moths and wrapped in acid free paper. The archive is stored in perfect conditions to prevent further damage to the items.

What methods have been used in its production?

Is it woven, knitted, another form of construction, or is it a non-woven material? (If you don’t know what these terms mean, do some research to find out.) This fabric has been woven on a Jacquard Loom. Invented by Joseph Jacquard in 1801. When Annie acquired one of these looms she was able to make intricate patterns more easily. She greatly relied on the skilled labour of the weavers she employed.
Is it handmade or machine-made? Is it possible to know what type of machinery was involved? If it’s hand-made, is the maker identified? The raw materials were spun by approximately 90 spinners employed by Annie. The looms she used were hand-looms and not powered by electricity. Annie considered this to be a “man’s work” and she only ever employed the very best workers to do each job. She was quite scathing about some of the local women in her diary.
What textile finishing methods have been employed? The raw edges have been folded and hand stitched, this piece is just a sample to show clients so the finish didn’t need to be neat.

Is there a print or any form of embellishment, or has a surface finish been added to the original textile? Do you know how this has been achieved? The surface pattern has been woven, you can see that the “unwanted threads are carried in long flushes on the back” (See photo)

Where is the textile from?

Can you find out this information from labels or from the archive information?Annie Garnett’s business was run from a place called The Spinnery, this was in Bowness-on-Windermere in the Lake District. There is evidence to suggest that she produced the raw materials herself, then had her employed ladies spin the raw materials into threads/yarns. She was adamant that the ladies only did this in their spare time and that it was not to interrupt their duties as housewives and mothers.
Is it the final product (perhaps a garment the fabric has been made into) that reflects the ‘Made in….’ label? Again, this piece was only a sample to show clients, we have no images of any of the fabrics as finished products. The V&A has listed it as furnishing fabric, but as there is a lack of accounts it is impossible to track down.
Is it possible to be sure where the fabric is from? We definitely know where the fabric was made, there are numerous pieces of supporting evidence in the rest of the archive.
Is it possible to know where the original fibres came from? (If you are not sure, again try to do some further research into the fibre types or processes used in order to find out where this is usually done. It could be a country of origin, or even a city or factory.) She did produce her own raw silk. Again because of the lack of accounts it is hard to say if she produced the quantity needed to cope with the demand at the height of her success, but from her diaries we know that money was always a great concern for her so it would be safe to say she would source the cheapest materials. Most likely going to the local markets first and working further afield from there.

What problems have you encountered in trying to find out this information?

Why might trace-ability be important in textiles? In this case, this is great we have almost complete trace-ability. We know where she manufactured her goods, we have photos of the conditions. We know that although she was a formidable lady, she looked after her workers and appreciated the skills they could provide. Working for her would almost certainly have been better than any other textile mill of the time. We also know where she produced the raw materials. From a wider perspective I feel I have answered this in the section about the kneeler.
What information are you missing and how might you find out more? I am missing information about what the fabric was used for, I know that this particular pattern was commissioned by Queen Alexandra but we don’t know what for. There is nothing in the archive to say who she sold to, so there are probably items in stately homes, castles and manors around the country that are shining examples of her work but nothing to identify it as her fabric. This information simply does not exist. I think that might be the saddest part of the story. She worked so hard to build her business that was a great success for 30 years or more but by the time she died in 1942 no-one really knew who she was. There must be examples of her work out there but we have no idea where.

Story

What other visual indications can you glean from closely examining the textile samples? If the textile has been made into a product, what can you learn from further visual examination?

Is it well-worn and heavily used? There are no real signs of wear as it has not been used for anything other than a piece of fabric to show potential customers. It is creased and marked in places but overall it is still in great condition. The colours are as bright as they are in the sample books. Large pieces would have to have been sold because they were so expensive to make and Annie was not a wealthy woman like some of the other designers of the time.
Is it fragile and delicate or durable and sturdy? Now it would be considered delicate. Natural fibres decay faster the more they are exposed to the elements. The silk fabric is strong and would most probably have been used for something like curtains or a very heavy dress so it’s not strictly speaking delicate but would have pulled easily.
Can you tell the age of the textile or product? I would imagine textiles experts would be able to date this piece by looking at it, looking at the type of fibres used and what kind or weave it is. We have a window of 10 years where this piece could have been made between 1900 and 1910 but we can’t pin it down any further.
Are there any indications of patina due to wear and age? There doesn’t appear to be any age related marks on the piece of fabric and the colours are still as bright as they were when it was made. It is likely that these were synthetic dyes which last longer.
Is there evidence of repair or alterations? Again this is a sample for clients and aside from the roughly finished edges there is no finishing at all.
Can you tell the story or guess the story behind the life of the textile? This would have been stored in Annie’s design room to show clients who visited The Spinnery and probably take to the many shows and exhibitions where she sold her work.
We do know however that she was inspired by her garden and the Lake District, so the idea for the flower head would have come directly from her garden. The piece was a commission but how much of it was on the advice of the client is unknown. She did like to have full control over her designs so it is unlikely that she would have compromised much! The petals would have been collected from her garden and sent directly to the dyers. There are very few sketches between the initial idea and the finished product. She had a good relationship with her head weaver and he would only have risen to that position by being the very best man for the job. He would have had to be able to work to her exacting standards. This is one of her best designs so I imagine she was incredibly proud of it.

Are there any elements of the design, detail, decoration or construction of the textile sample that indicate a story behind the textile or product? (This could be anything from the use of traditional motifs to t-shirt slogans!)

Can you learn more about these, where they originate from and any background meaning or message? See above.
Are they made to last or are they supposed to be transient? The fabric that she made was expensive, made to last but if it was used on dresses it was likely that they would only be worn once. For soft furnishings it would have been used until there was a new fashion. Silk has always been a luxury fabric.
Are they personalised in any way or have they been customised or repaired?Aside from being a commission piece we know very little else about it.

Nostalgia is a recurring theme in textiles and within the broader spheres of design and art. Textiles have a special role to play, as we can attach memories, experiences and sensations, particularly to the wearing of textiles or their close proximity.

Can you build up a story of the users or wearers of the textiles? They were rich, her customers were people like the Cadbury’s, royalty and nobility. Her visitors book gives us this information but there are no receipts or accounts.
Do you feel any sense of nostalgia in relation to any of the three examples you have chosen? If so, why? If not, why not? Annie Garnett was a ruthless woman in pursuit of what she wanted in what was at the time a “man’s world”. She employed only those who had skill and would not employ someone just because they needed work. She plainly stated that her business was not a charity. She used only local materials wherever possible and worked to keep the costs down. If she had been rich maybe she would have found it much easier to gain more fame for her work. I am not a feminist by any stretch but I admire her for being so dedicated to creating a business she was proud of.
Was this a conscious decision when choosing your samples? Or could it have perhaps been an unconscious decision in your selection? I fell in love with this sample as soon as I saw it. I would have chosen it even if I could get no concrete knowledge about it. The fact that it carries a whole lot of local history is a bonus.
Do you feel that any of your three examples reflect any sense of heritage, whether your own or someone else’s? If so, why and in what way? If not, why not? The Spinnery was the first silk factory in the Lake District and the north had always had a wealth of textile industry. I am not a weaver but I have always had a love of textiles and how they are manufactured. I love the machinery and the evolution of the processes involved. I have really enjoyed finding out about the fascinating woman and being left to imagine about the missing information that we don’t have.

This is the booklet written by the archivist and contains a brief summary of the known history about Annie and The Spinnery.

Silk worm farming

V & A Fritillary Archive

Article for Lancashire life magazine

Fritillary Photos

The Saree from Ebay…

A burn hole and missing beads on the edge

Hand finishing on the sleeve of the bodice

So after the disappointing response from many of the archives I contacted I decided that the only thing for it was to go online and search for just the right item. I wanted something bright and blingy, a contrast to the items I already had. I have a few things around the house that could have been useful but nothing really did it for me. So eBay it was, after hours of searching I decided on this one. The photos just didn’t do it justice, it’s absolutely gorgeous.
I decided on a sari because ever since I went on a primary school residential trip to Bradford I have had a fascination for Indian clothing, it’s not just the colours but the prints, patterns and the delicate embroidery, the gold, the beads. The way one long piece of fabric can become the most beautiful feminine dress with no sewing involved at all, just draping, pleats and tucking. I always felt my own clothes were boring. I lived on a northern hill farm at the time so my clothes were probably more suited to the climate though!
Of course I would have loved to buy a 100% silk sari but they cost the earth. So I made do with one made from synthetic fibres.

Substance

What is the textile made from?

What fibres are employed in its making? The fabric is Faux Georgette, typically Georgette would be silk but in this instance it is made of a synthetic fibre. Small amounts of velvet (crushed velvet) gold/copper coloured thread. Other embellishments include – glass bugle beads, sequins and other decorative plastic beads.
Is there a manufacturer’s label or an archival label to give you that information?I bought this from an Indian family on eBay, they very kindly gave me some of the information about the Saree. Usually you would buy the bodice part made and have a tailor fit it to your size. There are no labels on the bodice or the length of Saree fabric.
If there is no label, are you able to find out some other way? I have been in contact with the seller, I asked them these questions:
1 – What type of Saree is it?
2 – Why does it have patches sewn on the edge?
3 – Is the pattern significant in any way?
4 – Do you know where it was bough originally?
5 – Can you tell me the names of any of the types of embroidery, are they hand or machine sewn?
Hopefully they will respond.
How can the textile be cared for? This is a functional piece of clothing so unlike the other two pieces it will not be kept in an archive away from light and humidity etc. So because of the heavy bead-work it should only be very carefully hand-washed or dry-cleaned.

What methods have been used in its production?

Is it woven, knitted, another form of construction, or is it a non-woven material? (If you don’t know what these terms mean, do some research to find out.) Georgette is a woven fabric. In this case made from synthetic fibres on a power loom.
Is it handmade or machine-made? Is it possible to know what type of machinery was involved? If it’s hand-made, is the maker identified? This is not an old Saree, so we can assume that modern machinery was used to make it. If you look closely at the embroidery on the reverse there appears to be a top and bottom thread. whereas traditional Zari or Zardosi or Phulkari work is done with 1 thread and a crochet hook.
What textile finishing methods have been employed? The fabric was plain and embellished afterwards, a cotton layer has been applied on the reverse to help the fabric cope with the weight of the heavy embroidery. The selvage edges are visible, it has not been hemmed. The blouse was part made and finished to size at home or by a tailor.
Is there a print or any form of embellishment, or has a surface finish been added to the original textile? Do you know how this has been achieved? Appliqued crushed velvet flowers, embroidery, bead work. There is a type of thread used to decorate this type of Saree called Zari it is a gold thread, traditionally real gold but mostly and specifically in this case, synthetic metallic thread now. It could also be similar to Phulkari or flower work.

Where is the textile from?

Can you find out this information from labels or from the archive information? I have asked the previous owner and they said it was from India, but other than that I have no idea what area or region and no way to tell.
Is it the final product (perhaps a garment the fabric has been made into) that reflects the ‘Made in….’ label? This is a final product, frustratingly it has no made in label.
Is it possible to be sure where the fabric is from? After a brief search online there are a huge amount of fabric manufacturers on the west coast of India in Mumbai and Surat. It is possible that this is where it was from.
Is it possible to know where the original fibres came from? (If you are not sure, again try to do some further research into the fibre types or processes used in order to find out where this is usually done. It could be a country of origin, or even a city or factory.) Unfortunately in all honesty it is not really possible to know where the fibres were from. There is just no way of knowing. All I have is the response from the previous owner to say that is was from India, it could just as easily have been bought in the UK or online from anywhere in the world.

What problems have you encountered in trying to find out this information?

Why might trace-ability be important in textiles? Again I covered this when I was talking about the kneeler. I would be most concerned in this case about the conditions of workers and the ethics with which the fabric was traded. India is a developing country, interestingly Mumbai has the majority of India’s millionaires but also the 3rd largest slum in the world.
What information are you missing and how might you find out more? I have no trace-ability for this item, I can make assumptions but that is it.

Story

What other visual indications can you glean from closely examining the textile samples? If the textile has been made into a product, what can you learn from further visual examination?

Is it well-worn and heavily used? Apparently this Saree was worn just once by the mother of the groom at his wedding. I guess clothes made from much cheaper materials has allowed us all to become a bit used to the idea of disposable clothes. Gone are the days of wearing clothes until they are worn out or are too small. Wearing the latest fashions also has a huge impact on what we keep and what we throw away.
Is it fragile and delicate or durable and sturdy? The beading is quite delicate, it makes the Saree very heavy to wear. The Saree has been reinforced in places to allow for it to be held with pins or to prevent damage to the hem. It would also be prone to pulls and snags if caught on anything.
Can you tell the age of the textile or product? This is definitely the newest of the 3 pieces I have chosen, again I cannot be sure of the exact age but I imagine it was made in the last 20 years or so.
Are there any indications of patina due to wear and age? Not that I can see, but as it was only worn once and then stored away in a wardrobe I would expect that to be the case.
Is there evidence of repair or alterations? There have been patches of cotton and a synthetic satin stitched on to protect the fabric so it can be pinned in place and to protect the heavy embroidered/beaded hem. Also the bodice would have been finished off to fit the person it was for – the stitching differs in places.
Can you tell the story or guess the story behind the life of the textile? If I didn’t already know that this was worn at a wedding, I would have been able to guess it was for a special occasion. This type of Saree is not something that would be worn everyday, it is too ornate and impractical due to it’s weight. I found this article quite useful.

Are there any elements of the design, detail, decoration or construction of the textile sample that indicate a story behind the textile or product? (This could be anything from the use of traditional motifs to t-shirt slogans!)

Can you learn more about these, where they originate from and any background meaning or message? I have been doing a lot of online research about my pieces but so far have no information about the patterns used to decorate my saree, there is information about colour and information about some motifs but not really the ones that appear on this saree . There are different ways to drape the saree, sarees from different regions of India, sarees for different occasions. I will continue to look at this during the next part of the project.
Are they made to last or are they supposed to be transient? They are pieces of clothing so should be made to last. As I mentioned earlier though this whole idea of disposable clothes seems to be growing, made easier by reduced costs and cheaper fabrics.
Are they personalised in any way or have they been customised or repaired? The bodice has been fitted to the person that it was for and there have been patches stitched on to the fabric to protect it from the pins needed to pin it in place. There are a few beads missing in places but that is to be expected.

Nostalgia is a recurring theme in textiles and within the broader spheres of design and art. Textiles have a special role to play, as we can attach memories, experiences and sensations, particularly to the wearing of textiles or their close proximity.

Can you build up a story of the users or wearers of the textiles? Sarees are part of the traditional clothing of India and whereas western dress has become popular in India, sarees are still worn by most people, most of the time. There are different types of saree for different occasions so I know that mine was for a special occasion and most likely for a wedding by its decoration. They are worn by all women, of all levels of wealth, they only vary in their surface design.
Do you feel any sense of nostalgia in relation to any of the three examples you have chosen? If so, why? If not, why not? I love sarees, they are incredibly feminine, I am envious that our day to day clothes can be quite boring in comparison. In terms of nostalgia, I can’t claim any for this piece because the Indian culture is so far removed from mine. I just have memories of the trip to Bradford and being overwhelmed by the colours and patterns of clothes that were being worn just to go shopping and go about life. This has given me an excuse to learn more.
Was this a conscious decision when choosing your samples? Or could it have perhaps been an unconscious decision in your selection? I guess for this piece I knew what I was looking for and chance lead me to this particular one. Given the chance maybe I would have gone for something even more extravagant made from raw silk and gold Zardosi. I just love the patterns and the colour, it was a simple as that.
Do you feel that any of your three examples reflect any sense of heritage, whether your own or someone else’s? If so, why and in what way? If not, why not? This piece does not in any way reflect my heritage, I was raised by northern hill farmers where waterproofs and wellies were the outfit of choice – all year round! Clothes were practical and hard wearing, usually from the local market. I think this might be why I have always liked the look of clothes from other countries/cultures, the contrast is enormous. India has a vast and interesting history especially regarding how it was once a part of the British Empire, which Britain perceived as a great thing and want to rekindle the “friendship” we once had, but i’m not sure they felt or indeed feel the same way.

Here are some links I have found as I have been doing my research.

Indian hand embroidery

Machine Embroidery in Surat – India

Different Saree styles

Colours

V&A Indian Textiles article

Indian fabric exhibition V&A

History of the Sari

Indian wedding info

Information about Indian motifs

Slides about Indian Motifs

Banarasi Brocade