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iTEXTILIS | The IK Workshop Society

@itextilis.eurosky.social
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iTEXTILIS – Part of The IK Foundation @ikws.eurosky.social – Promoting Natural & Cultural History. iTEXTILIS led by Viveka Hansen | Textile historian | Textilis.net

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Cassidy Percoco @mimicofmodes.com · 17/10/2026
We have a publication day: 11/11, it works on both sides of the pond! www.routledge.com/Eighteenth-C... 🗃️🪡
routledge.com
Eighteenth-Century Women's Dress: Techniques and Patterns
Eighteenth-Century Women’s Dress: Techniques and Patterns features patterns drawn from 27 extant 18th-century women’s garments in museum collections, with a focus on Anglo-American and French styles. ...
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Kate Strasdin @katestrasdin.bsky.social · 21h
The inky black silk finds its contrast in ruched red used as a kind of underlayer, revealed in the brightness of the skirt under the bustle, the striped centre front of the bodice and the peep at the cuffs, #1880s Emile Pingat #mfaboston #FashionHistory 🗃️🪡
Front view of a black bustle dress with long sleeved fitted bodice that has a red section centre front. It has a ruched red skirt beneath the gathered black bustle and a black ruffle around the hemBack view of the black bustle dress showing the arrangement of the bustle at the back, the ruched skirt at the front and the fitted bodice
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iroai.jp @iroai.bsky.social · 17h
Cranes in Diamond Shapes www.instagram.com/p/DejlyybDH0... Cranes in Diamond Shapes is a traditional Japanese pattern featuring two cranes facing each other within a diamond shape.
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iTEXTILIS | The IK Workshop Society @itextilis.eurosky.social · 15/10/2026
NEW ESSAY: Protective Textile Materials – Reflections by 18th-Century Long-Distance Travelling Naturalists. www.ikfoundation.org/itextilis/pr...
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Jenn Wong @jennwong.bsky.social · 12/10/2026
I love this thing
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Dr Mark Purcell @camlibresearch.bsky.social · 10/10/2026
Genoese naval tapestries. In the sixteenth-century Villa del Principe, for the Doria family, and quite astonishing.
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julieinstitches.bsky.social @julieinstitches.bsky.social · 11/10/2026
Sleeve closed by a narrow band of fabric, which fastens with a hook & eye. 1795-99 (block printing), ca 1810 (sewing). More here: collections.vam.ac.uk/item/O110101...
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Phil Watson @frenchmegaliths.bsky.social · 11/10/2026
The menhir of La Croterie in Chauvé (Loire-Atlantique) is 4.2m tall and 3.5m wide at the base of the broad face. A recumbent stone behind may have been a twin or may never have stood. Card by Chapeau in Nantes. #StandingStoneSunday.
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Kate Strasdin @katestrasdin.bsky.social · 11/10/2026
Red and navy blue always a winner in my estimation and this Worth gown uses the brightest of reds to punctuate the details of their mid #1890s design. Nicely nautical for seaside promenading #NGVMelbourne #FashionHistory 🗃️🪡
Front view of a mid 1890s Worth gown of navy blue silk with red detailing centre front, as well as trimming the bodice, cuffs and skirt hem
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The Kimono Gallery @roger1952.bsky.social · 07/10/2026
The tenth sheet from the set Joshoku kaiko tewaza kusa (Silkworm Culture: The Handiwork of Women), by Kitagawa Utamaro, c. 1798-1800, Japan.
In this dynamic woodblock print, four women collaborate in the exacting task of stretching and drying raw silk floss and reeled thread after processing. At the upper left, a woman reaches upward with bare arms to loop long, lustrous skeins of white silk over a elevated horizontal pole suspended above a deep wooden tub. In the foreground, two women lean into opposite directions, using synchronized physical tension to stretch a supple pad of wet silk floss (mawata) across wooden posts with paddles and tender hands. Nearby, another helper with a white cloth (tenugui) bound around her hair looks on attentively. The composition evokes a rich sensory atmosphere: the earthy, warm aroma of damp silk fibers and steamy wash water, the quiet rustle of patterned cotton kimonos, the gentle creak of wooden paddles against posts, the soft splash of water within cedar tubs, and the rhythmic, silent intimacy of women working in harmony.

Designed around 1798–1800 by the master printmaker Kitagawa Utamaro (1753–1806), this artwork represents sheet ten, titled "Stretching the Silk Floss" (Mawata-kaki), from his celebrated twelve-sheet polyptych series Jōshoku kaiko tewaza-kusa (Silkworm Culture: The Handiwork of Women). While instructional manuals detailing sericulture (kaiko-kō) were widespread in Edo-period Japan, Utamaro revolutionized the genre by populating the rural, labor-intensive process with idealized, fashionable beauties (bijinga). By portraying high-fashion Edo women performing arduous agricultural and textile tasks—such as picking mulberry leaves, boiling cocoons, reeling thread, and weaving—Utamaro celebrated the spirit of monozukuri (artisanal dedication, technical precision, and deep respect for raw materials) while transforming technical documentation into an icon of urban sophistication.
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Kate Strasdin @katestrasdin.bsky.social · 08/10/2026
Purple polka dots shimmy across the surface of this dress, the fabric all that was required to create a decorative dress. Devoid of embellishment other than lace collar and cuffs, it holds its own in lavender shaded splendour. Late #1840s, Brussels Museum of Fashion and Lace #FashionHistory 🗃️🪡
Front view of a long full skirted gown with fitted buttoned bodice and pointed waist. The purple fabric has a woven repeat of polka dots
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iTEXTILIS | The IK Workshop Society @itextilis.eurosky.social · 07/10/2026
From the Archive – Essay: Jet and Dressed in Black – The Victorian Period. www.ikfoundation.org/itextilis/je...
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Art Herstory @artherstory.bsky.social · 07/10/2026
Portrait of a Lady, 1670, by #GesinaTerBorch (Dutch, 1631-1690). Held by @rijksmuseum.bsky.social, id.rijksmuseum.nl/200513381 #womenartists #artherstory
A watercolor drawing of a white-skinned woman with bags under her eyes, depicted at three-quarter length, standing by a table. She wears a black gown with white trim, a black head covering, bracelets, earrings, rings, and a pearl choker. On the cloth-covered table at her side are a closed fan and a pair of long tan-colored gloves.
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Dr Anna Clark @drannaclark.bsky.social · 07/10/2026
Niche artist: Gerrit Dou, Dutch Golden Age painter, born in Leiden in 1623; pupil of Rembrandt, known for polished, small-scale trompe l’oeil scenes in stone arches and curtained alcoves; adept at surface reflections, shadows, and textures. Self-portrait with pipe & book, 1650 Rijksmuseum
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Kate Strasdin @katestrasdin.bsky.social · 05/10/2026
The gossamer muslin used to create early c19th gowns was sometimes described as ‘woven wind’, an amazing description for the lightweight fabric. Here it has been embroidered with wool and I can only imagine the challenges that came with such stitching. C1815 #NGVMelbourne #FashionHistory 🗃️🪡
Back view of a fine white muslin empire line evening dress with a high gathered section centre back and floral wool embroidery at the hemFront view of the c1815 empire line white muslin evening dress with small embroidered sprigs across the front and a deeper band of wool embroidery around the hemFabric detail of the white muslin dress showing the small sprigs of coloured wool embroideryFabric detail from the c1815 white muslin dress showing a larger wool embroidered motif from the hem
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Dr Anna Clark @drannaclark.bsky.social · 04/10/2026
The Gleaners, 1857, realist masterpiece by Jean-François Millet, French artist, a founder of Barbizon school, born #OTD 1814. Described as an “epic hymn to labour”, which prefigured the laundresses of Degas and floorscrapers of Caillebotte. Musée d’Orsay
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Kate Strasdin @katestrasdin.bsky.social · 04/10/2026
I am continuing my advocacy for autumn velvet with a sapphire blue gown trimmed with both golden sleeve baubles and sparkly beaded floral motifs. Lots to see and cosy cloth to boot. Dates to c1883, sold via #AugustaAuction #FashionHistory 🗃️🪡
Back view of the top half of a sapphire blue bustle dress with ruched skirt and a row of gold passementerie baubles running down the back of each armSide by side image of the side and front of the early 1880s blue velvet bustle dress which shows the large beaded floral motifs on the front of the skirtA close up of the beaded sparkly blue flower with green leaves decorating the skirt of the blue velvet bustle dress
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chertseymuseum.bsky.social @chertseymuseum.bsky.social · 02/10/2026
#FridayFrocks #Waistlines: Day gown of cotton muslin, c.1809 – 1811. It has a bib-front bodice with a high waistline. The bib would have been pinned in place at the front of the shoulder straps.
Front and back views of a Regency-era cotton muslin day gown, dated c.1809-1811, displayed on a mannequin. The ankle-length white dress features a small blue dot pattern, a high waistline, long sleeves, and blue decorative trim at the neckline, cuffs, and hem. The back view shows laced fastening and gathered fabric below the waist. Caption reads: “Cotton muslin day gown, c.1809-1811 © The Olive Matthews Collection, Chertsey Museum. Photos by John Chase Photography.”
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iTEXTILIS | The IK Workshop Society @itextilis.eurosky.social · 02/10/2026
New essay series coming from iTEXTILIS: Beyond the Arctic Circle — how textiles and clothes made Arctic exploration possible, tied to the acclaimed 2025 SPITSBERGEN volume. Be part of bringing this untold story to life! ❄️🧵 #textilehistory #Arctic > donate-to.ikfoundation.org/fundraising/...
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The IK Foundation | The IK Workshop Soc. @ikws.eurosky.social · 30/09/2026
The final day of a long and important campaign. Our goal is within reach – help us with the last 10% of funding. Donate if you can > donate-to.ikfoundation.org/fundraising/... #science #spitsbergen #svalbard #arctic #greenland #opensource #whydonate #crowdfunding #Europe #books #geography #nature
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iTEXTILIS | The IK Workshop Society @itextilis.eurosky.social · 30/09/2026
From the Archive – Essay: Handicraft and Textile Exhibitions – A Case Study from 1900 to 1914. www.ikfoundation.org/itextilis/ha...
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Olga Pecorelle @olgapecorelle.bsky.social · 29/09/2026
More weekend pictures from Asti. Working by the fire in the centre of a medieval city on a September night feels so good.
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Kate Strasdin @katestrasdin.bsky.social · 29/09/2026
The drama of the mid 18th century encapsulated in structured silk. Pale Gros de Naples was chosen for its distinctive ribbed weave structure supplemented with a riot of florals. It is sculpted in such a way, it seems it could stand up on its own #MuseodelTraje #FashionHistory 🗃️🪡
Side view of a short pale blue silk jacket with deep cuffed elbow length sleeves and colourful floral motifs. It has a pleated peplum at the back
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Dr Jennifer Evans @historianjen.bsky.social · 29/09/2026
I'm a so pleased that the exhibition I co-curated with @cerihoulbrook.bsky.social is now open at the Chelsea Physick Garden. Running until the 15th Nov, it explores the autumnal plants of the garden through the work of pioneering botanical illustrator Anne Pratt.
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Lucy Paquette @hammockauthor.bsky.social · 26/09/2026
The Blue Ribbon (c. 1894) by Alfred Stevens (Belgian, 1823-1906) Private collection
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Anna M. Thane @annamthane.bsky.social · 26/09/2026
detail of a waistcoat 1780/1790 Made in France
Delicate embroidery on a silk waistcoat, with flowers, rosebuds and leaves
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Olga Pecorelle @olgapecorelle.bsky.social · 26/09/2026
Asti today.
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Journal of Art in Society @artinsociety.bsky.social · 27/09/2026
In this quiet painting, young domestic servant in wealthy household has interrupted her dusting duties & stands engrossed in reading a book. On the elegant tabletop is a still-life of a stationery box, Asian vases & a porcelain figure (William McGregor Paxton, The House Maid, 1910, NGA, Washington)
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iTEXTILIS | The IK Workshop Society @itextilis.eurosky.social · 24/09/2026
NEW ESSAY: A Travel Cushion dated 1817 – A Case Study of Double Interlocked Tapestries in Sweden. www.ikfoundation.org/itextilis/a-...
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Kate Strasdin @katestrasdin.bsky.social · 22/09/2026
The c19th aesthetic obsession with all things ferny, scrolls across the brocade of this c1887 gown, the green panels interspersed with dashes of greenery around the bodice and layer of skirt. Some fancy smocking completes the decorative display #museumatFIT #FashionHistory 🗃️🪡
A view of the bodice of a late 1880a dark sage green bustle dress showing its high plain collar, smocked central section and then white silk brocade with a green fern design creating a lapel effectFull length view of the dark sage green silk bustle dress which shows how the white fern decorated brocade sections break up the green at the bodice, waist, cuffs and underskirt
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Karie Ghoulish 👻 @kariebookish.bsky.social · 19/09/2026
The first-ever laying out the quilt blocks. Too late in the day to clear the entire floor for full layout (10 by 11 blocks) but it's interesting seeing how everything looks together.
A selection of quilt blocks.
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The IK Foundation | The IK Workshop Soc. @ikws.eurosky.social · 20/09/2026
SPITSBERGEN SCIENCE EXPEDITIONS, probably the most multidisciplinary resource book on #Arctic #Natural and #Cultural #History ever published. Handbound, 400 pages plus 46 pages of six large-sized, extended fold-outs and numbered copies for your #Library; click > www.ikfoundation.org/books-and-ar...
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The IK Foundation | The IK Workshop Soc. @ikws.eurosky.social · 18/09/2026
TEXTILIA LINNAEANA QUOTES from the world within #Textiles #Art #Fashion #18thcentury #Clothes #Fibre #Ethnography #Travel #Naturalhistory #Geography #Dyes #Textilehistory #Weaving #Trade #Historyofscience #Books @itextilis.eurosky.social EXPLORE > www.ikfoundation.org/books-and-ar...
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iTEXTILIS | The IK Workshop Society @itextilis.eurosky.social · 17/09/2026
From the Archive – Essay: Woollen Movement & Health Aspects – in the late 19th Century. www.ikfoundation.org/itextilis/wo...
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Kate Strasdin @katestrasdin.bsky.social · 15/09/2026
From enormous sleeves to the biggest skirt and a bright pink late #1860s ballgown from the French fashion house of Emile Pingat. Minimal embellishment, all of the drama reserved for the proportions @AlbanyInstitute #FashionHistory 🗃️🪡
Back view of a bright pink crinoline dress with a decorative peplum centre back and short white net trimmed sleeves and décolletageFront view of the bright pink silk 1860s ballgown with short sleeved bodice and ruffle hem
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neil guthrie @nguthrie.bsky.social · 16/09/2026
Thomas Gainsborough, portrait of the artist’s wife, Margaret (c1778), Courtauld Gallery #c18 #c18th #18thc
Portrait of a middle-aged woman with a rather sad expression, with a black mantle that falls from her natural but dressed and great-powdered hair. Gilt wood rococo frame
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Greg Jenner (Historian) @gregjenner.bsky.social · 12/09/2026
Enjoying this nice BBC TV doc about the Bayeux Tapestry which explains the events of 1066 but also shows the extraordinary process required to safely transport it to London (insurers valued it at £800m!) www.bbc.co.uk/iplayer/epis...
bbc.co.uk
Secrets of the Bayeux Tapestry: Inside the Museum
As the Bayeux Tapestry, one of the treasures of the medieval world, travels to the UK for the first time in 950 years, a stellar cast of historians and experts unravel its secrets.
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chertseymuseum.bsky.social @chertseymuseum.bsky.social · 11/09/2026
#FridayFrocks #Pleating – A dress, c.1845–55 of silk satin. The full skirt is cartridge-pleated to the boned bodice which allows the large volume of fabric to be incorporated neatly into the waistband.
Collage showing a mid-19th century silk day dress (c.1845-1855) on a mannequin. The gown is made from striped silk in shades of deep plum, burgundy and bright magenta, with a fitted pointed bodice, long sleeves and a full gathered skirt. Two detail images show the waist seam with cartridge pleating and the interior construction at the sleeve and skirt attachment.
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Brian Groom @groomb.bsky.social · 12/09/2026
Welsh hats and costumes among relatives and friends, c.1882, photo by John Thomas, 1838-1905 (National Library of Wales).
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John McCafferty @jdmccafferty.bsky.social · 12/09/2026
Ruff or linen collar, c. 1615-1635 Possibly Northern Netherlands. Initials: "C.Y" in red cross-stitch. (Rijksmuseum)
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Challe Hudson @challehudson.bsky.social · 11/09/2026
Borage flower embroidered ca.1615-25. Where the central black anthers form a cone, silver threads remain, but the black silk is lost, degraded by iron in the dye, leaving just a pale brown stain and some holes in the linen ground. Victoria and Albert Museum T.13-1956 #FlowersonFriday
Close up detail of an embroidered flower with five petals of dark and light blue and a central column of dark silver that is now almost black. The flower grows from and is encircled by a twisting gold stem from which springs a green leaf. Above the centre of the flower the off-white linen ground onto which it was stitched is slightly discoloured, and the material pierced by several tiny holes, showing where stitches once passed through the cloth.
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iTEXTILIS | The IK Workshop Society @itextilis.eurosky.social · 08/09/2026
From the Archive – Essay: Manufacturing & Home Weaving – A Study of Woollen Textiles from 1700 to 1750. www.ikfoundation.org/itextilis/ma...
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John McCafferty @jdmccafferty.bsky.social · 07/09/2026
Alice Barnham and Her Sons Martin and Steven 1557 Unknown artist (Denver Art Museum) Alice Barnham (b. 7 Sept 1523, buried 14 May 1604) née Bainbridge, was a successful #London silk merchant.
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Kate Strasdin @katestrasdin.bsky.social · 07/09/2026
Each of the separate components of this gown have survived so that the full effect is possible, from open robe to stomacher to petticoat. Stripes run this way and that in an abundance of fresh greenery, #1770s #philamuseumart #FashionHistory 🗃️🪡
Bodice detail of a 1770s robe consisting of a separate stomacher and gown. Here the stripes of the stomacher run horizontally with ruffled edges on the open robed dress with a narrow lace trim around the square necklineSide detail of the green and white striped 1770s gown showing a different arrangement of the fabric, stripes running vertically with a band of gathered silkFull length view of the green and white 1770s green and white striped silk dress. The figure is styled with accessories showing off the silhouette of the three piece gown
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Peter Frankopan @peterfrankopan.bsky.social · 05/09/2026
In 1914, Aurel Stein unearthed an extraordinary textile fragment at ancient Loulan in the Tarim basin - showing the unmistakable face of Hermes. A Greek god, discovered in a desert cemetery in what is now western China 1/5
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Sue Wilkes @suewilkesauthor.bsky.social · 04/09/2026
Mourning Evening Costume and Morning Deshabillee, Invented by Miss Pierpont, Edmund Street, Portman Square, London. Lady's Monthly Museum, 1821. #fashion #history
Evening Mourning Costume and Mourning Deshabillee
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Kate Strasdin @katestrasdin.bsky.social · 03/09/2026
Sometimes just a detail is enough to appreciate. This #1770s gold ribbed silk gown has quite a story from its many alterations, refashionings and later use as fancy dress but this point here is beautifully constructed, seams and sharp pleats and covered buttons all a-glow #VandA #FashionHistory 🗃️🪡
A zoomed in detail of a 1770s open robe gown looking at the centre back which includes a fitted bodice and tightly arranged pleats at the waistband. There are two self covered buttons, one behind each hip
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The IK Foundation | The IK Workshop Soc. @ikws.eurosky.social · 03/09/2026
NEW ESSAY from iTEXTILIS | Linnaeus’ apostles relied on ambassadors for survival, gifts, and science. Silk gowns in Japan, safety in Libya — explore the 18th-century network of textiles and diplomacy. > www.ikfoundation.org/itextilis/th... #NaturalHistory @utrikesdep.bsky.social #travel #science
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iTEXTILIS | The IK Workshop Society @itextilis.eurosky.social · 03/09/2026
NEW ESSAY: The Story No. 13 | Fieldwork – The Linnaean Way | Ambassadors and Consuls assisting the Linnaeus Apostles. www.ikfoundation.org/itextilis/th...
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The Kimono Gallery @roger1952.bsky.social · 28/08/2026
This summer kimono presents a harmonious aquatic landscape that evokes the classical Japanese garden aesthetic, with its careful balance of natural elements arranged in seemingly effortless yet deliberately composed patterns. mid-Meiji period (1880-1900), Japan
The design presents a harmonious aquatic landscape that evokes the classical Japanese garden aesthetic, with its careful balance of natural elements arranged in seemingly effortless yet deliberately composed patterns. The rich indigo blue ground creates a sense of depth reminiscent of evening or twilight, a popular theme in Japanese art that suggests contemplation and seasonal transition, particularly appropriate for summer wear when cooler visual tones provide psychological relief from heat.

The symbolic vocabulary draws from classical Japanese poetry and seasonal associations deeply embedded in cultural consciousness. The yanagi (willow) trees with their gracefully drooping branches symbolize flexibility, resilience, and feminine beauty, while also indicating late spring or early summer. The kikyou (Japanese bellflower) represents unchanging love and honesty, blooming in autumn but here suggesting the continuity of seasons. The shoubu (iris) carries associations with the Boys' Festival in May and symbolizes courage and protection, while nadeshiko (dianthus) represents the ideal of feminine virtue and delicate beauty. The arched bridges connect these botanical elements both literally and metaphorically, symbolizing life's transitions and the passage between different states of being, a concept central to Buddhist philosophy.

The technical execution demonstrates the mastery of katazome stenciling techniques that flourished during the Meiji period, when artisans refined traditional methods while responding to new market demands. The stenciled motifs show remarkable precision in registration and color application, with multiple stencils used to achieve the complex layering of colors visible in the design. The hand-painted color gradations in the leaves reveal the integration of freehand techniques with stencil work, creating subtle tonal variations that give dimension and naturalistic quality to the botanical forms.
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