Brief
locate an archive accessible to you that contains textiles. This could be a local or national art or design archive, a university archive, a gallery or museum archive or an archive belonging to a company or manufacturer (for example, if there’s an archive strongly connected with your local area). You’re likely to benefit from doing some initial online research to find out what is accessible to you. Bear in mind that galleries and museums have limited space and often hold additional stores of work and objects that you can access on request. (If you do this, be sure to ask in advance of your visit.) Once you’ve found an archive that’s available to you, consider what type of textiles you’d like to look at within the collection. You won’t be able to tackle everything, so choose three pieces that you’re particularly drawn to. Choose three textiles that are linked in some way or analyse three quite different pieces – it’s entirely up to you. You may be able to get an overview of a particular textile archive from their online catalogue before your visit. If your chosen archive isn’t recorded online, however, you may need to make your decision on the spot. What type of textiles would you like to learn more about? For example, would you like to look at textiles that have a particular origin, such as silk embroideries from China or tartans from Scotland? Alternatively, you may wish to look at textiles from a particular period, such as 1950s prints. Or you could focus on a particular material or technique like concrete or lace. Also consider objects and items made from textiles, or with a textile component.
After reading the brief I decided to work with three items but not related items as the first textile that popped to mind is a knitted poncho that has been in my family since the early 70's, knitted by my then 11 year old sister showcasing her incredible knitting skills. It is a beautifully knitted poncho using traditional Celtic stitches that evokes feelings of melancholy and showcases strong Irish traditional culture. I have requested my sister Theresa, post the poncho to me so I can document and connect with the knit. It is a very special piece of knitwear that has a huge emotional history in our family.
I have looked in my area and we have quite a few options for access to historic textiles. One option is Bath city Fashion museum, the second is Dryham park house, the house has beautiful tapestries and embroidered pieces. We also have Lacock Abbey close by they have tapestries and fabrics that I could document. I will research further before making a final decision.
Q1
The wool is in great condition, worn but no tears or repairs. It has been lovingly cared for over the years. It is sturdy , like a protection layer, a suit of armour for the wearer. As mentioned before it can easily be aged and associated with the 70's ,fringing and style reminiscent of that time. It smells of wool still almost a smell of country air.
Substance
Item 1. Knitted poncho , knitted in 1972 by my sister Theresa, aged 12.
The poncho is knit by hand with Aran weight Irish blended wool. I asked my sister,the knitter, and she said she thinks it was 80% wool 20% nylon, a blend being better for washing without it felting, so it was knit with a 'practical ' everyday use in mind.
Hand knit with circular needles, this is an ambitious knit, so many stitches with beautiful stitch detail throughout, the main stitch is a square giving it depth and definition ,you get lost in the pattern when you are looking at it,the neatness of the stitches show a high level of hand knitting skills, it feels firm to touch, deep and comforting. The centre of the knit has a loose cable stitch, I had to research the name of the main body stitch as I thought it was a basketweave, however after researching on this site I found it is called a box stitch. The neckline is a knitted rib, neat and rolled double to give it a snug thickness for the wearer.
The poncho is not overly heavy to wear it feels like a lovely extra protective non restrictive layer. It falls beautifully especially with the fringed ends . It is reminiscent of the 70's ,the flow of the fringing ,feelings of comfort and freedom.
I didn't have any issues with sourcing information as it is a family knit and hand made.
The poncho is knit by hand with Aran weight Irish blended wool. I asked my sister,the knitter, and she said she thinks it was 80% wool 20% nylon, a blend being better for washing without it felting, so it was knit with a 'practical ' everyday use in mind.
Hand knit with circular needles, this is an ambitious knit, so many stitches with beautiful stitch detail throughout, the main stitch is a square giving it depth and definition ,you get lost in the pattern when you are looking at it,the neatness of the stitches show a high level of hand knitting skills, it feels firm to touch, deep and comforting. The centre of the knit has a loose cable stitch, I had to research the name of the main body stitch as I thought it was a basketweave, however after researching on this site I found it is called a box stitch. The neckline is a knitted rib, neat and rolled double to give it a snug thickness for the wearer.
The poncho is not overly heavy to wear it feels like a lovely extra protective non restrictive layer. It falls beautifully especially with the fringed ends . It is reminiscent of the 70's ,the flow of the fringing ,feelings of comfort and freedom.
I didn't have any issues with sourcing information as it is a family knit and hand made.
Questions I considered whilst examining the knitwear.
Weight of knit, how it falls, how it feels, what it feels like on. condition of the knitwear? any rips or repairs, signs of wearing. smell, touch, condition.
Story
Q1
The wool is in great condition, worn but no tears or repairs. It has been lovingly cared for over the years. It is sturdy , like a protection layer, a suit of armour for the wearer. As mentioned before it can easily be aged and associated with the 70's ,fringing and style reminiscent of that time. It smells of wool still almost a smell of country air.
Q3.Nostalgia
As I have the opportunity to ask the maker I decided I should interview Theresa and also ask myself similar questions around my memory of her poncho.
I answered the questions myself first as I thought it would be interesting to see if we had similar responses. I then read her responses, it is interesting how similar our responses were but also my observations of her wearing it that maybe she is not consciously aware of.
As I have the opportunity to ask the maker I decided I should interview Theresa and also ask myself similar questions around my memory of her poncho.
I answered the questions myself first as I thought it would be interesting to see if we had similar responses. I then read her responses, it is interesting how similar our responses were but also my observations of her wearing it that maybe she is not consciously aware of.
I phoned my sister Theresa to ask her to tell me the story of this knitted piece , her memories and attachment to it before I shared my thoughts and feeling about this piece of knitwear.
I asked her the following questions.
1.Can you tell me about when and why you knitted this poncho?
2. How long did it take to knit?
3.What made you keep it all this time?
4. What memories do you have attached to wearing this knitwear?
5. What words pop to mind when you look at it?
1. Can you tell me about when and why you knitted this poncho?
As far as I can recall I knitted this poncho in fifth class in primary school, so I was about 11 and it was 1979. I recall it was 5th class as I had it in sixth class when it was finished and felt very proud that I had knitted it. At that time, we had a knitting class in school. I remember Mrs O’Brien was our teacher for knitting and my mother, who was an avid knitter, helped me with the cable-stitch, which ran down the centre part of the poncho. My mother used to ‘knit for hire’, woolen jumpers so I have memories of her in the living room with large skeins of wool and my father sitting in his chair holding the skein while she rolled the wool into balls. As I grew bigger, I then held the skeins while she rolled the wool into balls. The wool for this poncho was in skeins when it was bought my myself and my mother in Arklow. We went to McMullans shop at the top of the town to get the wool. I didn’t get enough and so had to go back in to get more but they didn’t have the exact same wool (dye lot), it was a slightly warmer shade of cream and the line is visible in the poncho where there is a different shade of wool introduced. At the time, I don’t recall being too upset about it. It adds to the character of it I think…
2. How long did it take to knit?
My memory is that I was working on it for an entire school year, perhaps from the October to the following May. I know I spent a long time on it, encouraged by my mother. I used to bring it home to work on it as well. It was quite a big project for an 11 year old.
3. What made you keep it all this time?
4. And What memories do you have attached to wearing this knitwear?
The poncho obviously has great sentimental value for me. I haven’t been conscious of why I have kept it for over 40 years and this question is a good one for me to reflect on why I have brought it with me over house moves and life stages. When I made it initially I know I wore it with pride and enjoyed, as an 11 year old, being asked about it and being praised for how well made it was. I wore it perhaps at various points until my mid teens and then it went into a wardrobe. I think it was perhaps in my late twenties when I moved into my own home that I brought it with me and it took up residency hanging on the back of my bedroom door. At various points, I have worn it as a comforting piece of clothing. I love wool and woollen clothing items generally. This poncho hasn’t been something I have worn outside, moreso in recent years it is a piece of clothing that I have worn while lounging around the house in my pjs or sitting on the couch watching tv or reading a book. It is so warm and easy to wear and clearly, I have a great emotional connection to it.
5. What words pop to mind when you look at it?
Warm, comforting, traditional, unique, loved, enduring, ‘me’.
As far as I can recall I knitted this poncho in fifth class in primary school, so I was about 11 and it was 1979. I recall it was 5th class as I had it in sixth class when it was finished and felt very proud that I had knitted it. At that time, we had a knitting class in school. I remember Mrs O’Brien was our teacher for knitting and my mother, who was an avid knitter, helped me with the cable-stitch, which ran down the centre part of the poncho. My mother used to ‘knit for hire’, woolen jumpers so I have memories of her in the living room with large skeins of wool and my father sitting in his chair holding the skein while she rolled the wool into balls. As I grew bigger, I then held the skeins while she rolled the wool into balls. The wool for this poncho was in skeins when it was bought my myself and my mother in Arklow. We went to McMullans shop at the top of the town to get the wool. I didn’t get enough and so had to go back in to get more but they didn’t have the exact same wool (dye lot), it was a slightly warmer shade of cream and the line is visible in the poncho where there is a different shade of wool introduced. At the time, I don’t recall being too upset about it. It adds to the character of it I think…
2. How long did it take to knit?
My memory is that I was working on it for an entire school year, perhaps from the October to the following May. I know I spent a long time on it, encouraged by my mother. I used to bring it home to work on it as well. It was quite a big project for an 11 year old.
3. What made you keep it all this time?
4. And What memories do you have attached to wearing this knitwear?
The poncho obviously has great sentimental value for me. I haven’t been conscious of why I have kept it for over 40 years and this question is a good one for me to reflect on why I have brought it with me over house moves and life stages. When I made it initially I know I wore it with pride and enjoyed, as an 11 year old, being asked about it and being praised for how well made it was. I wore it perhaps at various points until my mid teens and then it went into a wardrobe. I think it was perhaps in my late twenties when I moved into my own home that I brought it with me and it took up residency hanging on the back of my bedroom door. At various points, I have worn it as a comforting piece of clothing. I love wool and woollen clothing items generally. This poncho hasn’t been something I have worn outside, moreso in recent years it is a piece of clothing that I have worn while lounging around the house in my pjs or sitting on the couch watching tv or reading a book. It is so warm and easy to wear and clearly, I have a great emotional connection to it.
5. What words pop to mind when you look at it?
Warm, comforting, traditional, unique, loved, enduring, ‘me’.
This poncho is a huge part of my memory growing up. I have memories of my sister wearing the poncho and slouchy 1980's trousers teaching me to knit in her upstairs bedroom of our family home. I was feeling anxious about school the next day and my sister, 10 years my senior was distracting me by teaching me to knit. It is a lovely memory ,the repetition of the stitches distracting my worried mind.
I remember the poncho when my sister was lounging about relaxed watching TV, when she was hiding a hangover from our parents when she a teen, when she was deeply depressed hiding away in her room for what seemed like weeks when our mother passed away, glimpses of the poncho when she emerged from her room to use the bathroom, I think the poncho soothed the pain.
I remember the poncho in every home she lived in hanging up on the back of the door on a hook.
It represents our family history in times of fun and laughter and in times of grief and sadness. A cloak that holds all of that emotion ,a poncho of healing.
Wool fringe Marks made with wool and tea dyes, I dabbed the wool in the teas and made Marks on white paper with it by slapped the wool against the page. I wanted to show the fringes thickness and drape. I liked the freedom of this ,letting the wool drop downward conveying the hanging of the fringe as it moves on the wearer.
White pencil on black card.
I wanted to show the small details of the poncho, fringing shadow, showing the lightness of the fringe compared to the structure texture of the basket weave stitch( correction;box stitch) on the main body.
Quick light pencil Marks.
Square stitch detail , hoping to show the texture of the grid style stitch, the depth of fabric, the stitch is structured but also loose in shape.
The simple rib neckline showing how it sit depending on how it hangs.
Quick nostalgic pencil sketch on a textured white paper,light marks with pencils to show shape and drape of this snug knit.
Centre Cable detail
I remember the poncho when my sister was lounging about relaxed watching TV, when she was hiding a hangover from our parents when she a teen, when she was deeply depressed hiding away in her room for what seemed like weeks when our mother passed away, glimpses of the poncho when she emerged from her room to use the bathroom, I think the poncho soothed the pain.
I remember the poncho in every home she lived in hanging up on the back of the door on a hook.
It represents our family history in times of fun and laughter and in times of grief and sadness. A cloak that holds all of that emotion ,a poncho of healing.
White pencil on black card.
I wanted to show the small details of the poncho, fringing shadow, showing the lightness of the fringe compared to the structure texture of the basket weave stitch( correction;box stitch) on the main body.
Quick light pencil Marks.
Square stitch detail , hoping to show the texture of the grid style stitch, the depth of fabric, the stitch is structured but also loose in shape.
The simple rib neckline showing how it sit depending on how it hangs.
Quick nostalgic pencil sketch on a textured white paper,light marks with pencils to show shape and drape of this snug knit.
Centre Cable detail
Simple sketch with pencil of the simple centre cable
Victorian cuff worn with Adidas
stitch details, embroidery , flowers, and braid stitch , also lace
Inside of cuff
Substance
My second textile piece is a pair of lace Victorian cuffs,
these cuffs are beautifully detailed made from a coffee coloured light cotton that is embroidered and a lighter shade of creamy brown lace fabric . I am unsure of the exact type of cotton that is used, it is light and delicate, I'd imagine it is a common cotton from the Victorian period. There is no manufacturers label as they are handmade. I would image a delicate hand wash would be advised considering how delicate the fabric is and the age. The first thing I notice is the
smell of the fabric from storage, it is not a bad smell more of a musty scent.
They are clean with no visible tears or damage, they are in very good condition
considering the age of these cuffs, estimated by seller as circa 1885..
After speaking to the great granddaughter of the owner of the cuffs
apparently they were made to decorate a dress but only worn on a few occasions.
The cuffs are 12.25 cm in height and have a beautifully dramatic flare,
there are 4 small pearl buttons to close at the wrist , I turned the cuffs
inside out to see the tiny neat stitches on the inside,it looks like it is all stitched by hand,
using a combination of running stitch and a braiding textured embroidery stitch that runs vertically down the brown fabric at the widest point of the flared cuff and runs horizontally at the top of the cuff where the lace is attached. I enjoyed looking at the tiny details of the fabric, particularly the lace flower , which has a square shaped flower head with two leaves, every second flower the leaves are pointing in the opposite direction to the previous. I really like this quirky detail. I don't usually look at my accessories so closely and I was surprised how enjoyable it was to do so and how much detail goes unseen in my day to day. I feel like I am beginning to look at textiles in a different way.
The ruffled lace at the bottom really adds to the drama of the cuff and falls beautifully. from examination of the inside of the fabric it is all hand stitched by a person with a high skill level , I particularly like the loops that are made to close the buttons. Each loops is delicate yet sturdily made and stitched neatly into position.
I found it difficult to find out any information around the lace used as in country of origin.
I found it difficult to find out any information around the lace used as in country of origin.
Words that come to mind when I look at these cuffs
Whimsy . delicate . dramatic . unique . flared . light texture . coffee . brown . creme caramel
Story
I was very excited to find these beautiful Victorian cuffs at a textile market, I was also very lucky to speak a relative of the original owner of the cuffs. The lady who was selling the cuffs said they belonged to her great grandmother and were made for her to decorate a dress, she thought they would of dated circa 1885. They are in great condition and still very wearable, she said they are all original with no alterations.
2.
The stitches look to be traditional Victorian Era design , embellishments to create drama. I decided to look at the V&A archive to see if I could find out more about sleeve details and cuffs, I discovered the following text here documenting the History of Fashio Cira 1840-1900.
1880s
Women
3. Nostalgia
I feel these were made to last and would of taken a long time to sew, maybe for 'good wear' more than everyday. The seller said they were' rediscovered' when she was clearing out her mum's house after her death and she wanted them to be worn by someone who appreciated them. She said she remembers seeing the cuffs when she was a child and it brought back memories of looking through boxes of fabrics with her mum like she was doing now.
I can see them being worn with modern clothing,the wearer giving a nod to the Victorian period. I have a love for old fabrics, I was drawn to these by the beautiful quality and colour of the fabric, also I have a conscious appreciation for skill and time involved in stitching these and the importance of the heritage around protecting old textiles, I am from Ireland but England is my second home , I love reading about the history of England particularly the Victorian and Edwardian periods and fashion from that time, I also like to pair vintage and antique clothing with modern everyday clothing in my wardrobe, combining different skills and eras.
Loop detail
I decided to do scrawled sketches of the general shape of how the cuffs sit on the wrist and arm. I enjoyed this quick mark making exercise as it documents the general height and shape of the cuff on the wearer. A4 Artist pad using brown fat nib pencils.
Some Marks highlighting different details of the cuff
Textile 3
I was unable to go to Lacock abbey to document their textiles as the village has been flooded due to the storm so I've chosen Kurt Cobains famous cardigan from his MTV unplugged set as it is documented so well . I am a Nirvana fan and thought it would be a really interesting piece to research and document.
It recently sold at auction for over 300k.
I researched online and discovered the name of the auction house that sold the cardigan, I also found the auction house listing here
A vintage green cardigan sweater worn by Kurt Cobain during Nirvanas appearance on MTV Unplugged in 1993. The Manhattan brand sweater is a blend of acrylic, mohair and Lycra with five-button closure (one button absent) with two exterior pockets, a burn hole and discoloration near left pocket and discoloration on right pocket. Size medium. The sweater was obtained from Jackie Farry, a close friend of the Cobain family, and is accompanied by both a handwritten letter and a typed, signed letter from Farry.
BIDDING ON THIS LOT REQUIRES SPECIAL REGISTRATION REQUIREMENTS
Please contact info@juliensauctions.com or call 310.836.1818 for additional information to bid on this lot.
Please contact info@juliensauctions.com or call 310.836.1818 for additional information to bid on this lot.
- Substance
The cardigan is a earthy moss green mohair blend , I found information on the cardigan fabric blend on the auction listing.
There is a cigarette burn on the left hand side pocket leaving a dark smoky patch , the mohair is well worn and flat ,this suggests a lot of wear. The right hand pocket also has discoloration.
It has 5 buttons ,one missing button and two small front pockets.
I love the texture of the mohair, striated almost like a tree trunk. It looks warm and cosy to wear, well worn and 'lived in' like it has an interesting story, past. It has a structure and definite texture to it very different to how I perceive mohair, usually I think of 'light and fluffy' .
The moss green colour looks different depending on the light I've seen some images where it looks brown.
To me this cardie represents the indie days of the 90's , trashy clothes ,messy hair and music zines. I was a 14 year old who loved all things indie and still do as an adult.
Image from:Rosy Cherrington
Nirvana’s 1993 acoustic performance on MTV’s 'Unplugged', recorded for the Nirvana album 'MTV Unplugged In New York' released the following year.
Green Pencil and oak gall dye I made up from a left over dye batch. Highlighting the burn mark on the cardigan with oak gall dye. The Green Pencil showing the mohair long strands , but as the cardie is old the mohair is matted and no longer light and fluffy. it is heavy. The lightness of this quick mark makings shows the dreamy nostalgia for me around this piece of knitwear.
I am planning to concentrate on the burn and discoloration on the pocket of the Cobain cardigan in my line drawings.
Stitch detail on arm cuff with missing stitches and gathers in the fabric.
Quick pen on scrap of paper at work desk,highlighting the grunginess of the knit but also the grunge 90's indie scene. Light biro marks showing the fragility of the cardigan fibre and the wearer.
Moss cardigan
Idea going forward to gather moss and start to shape it into a cardigan, the texture of moss and feel representing the depth of the mohair fibre and also the weight of the cardigan through wear and age it has become heavy and textured.
Nostalgia
This cardie holds a lot of nostalgic memories for me and my school friends ,we were huge Nirvana fans, I have memories of recording on VHS blank tapes the MTV unplugged session and watching it over and over ,the cardigan being a real representation of Kurt Cobain and his indie rock lifestyle and well documented depression and prescription drug addiction, I see his personality in this cardie, comfortable in showing himself without a Hollywood filter. Self destruction shows in the condition of the cardie, so worn ,burn Marks, realness.
Mark making
I was testing different paper weights for water-colours I made with dyes, this sheet was too light so I opted for heavier paper after playing around with it.
Green Pencil and oak gall dye I made up from a left over dye batch. Highlighting the burn mark on the cardigan with oak gall dye. The Green Pencil showing the mohair long strands , but as the cardie is old the mohair is matted and no longer light and fluffy. it is heavy. The lightness of this quick mark makings shows the dreamy nostalgia for me around this piece of knitwear.
I am planning to concentrate on the burn and discoloration on the pocket of the Cobain cardigan in my line drawings.
Note: 23rd April.
After my formative review with my tutor I would like to swap out the cardigan as I cannot see any development going forward ,in replacement I have chosen an embroidered 1980s Mexican inspired top which I have in my wardrobe. The stitch detail has lots of potential, the colours of the stitches and the damage on the cuff gives me lots of detail to work with.
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