European Illumination - Gothic Style[1]Works on PaperMarie-Therese Wissiowski

Preamble
For your convenience I have listed other posts in this series below:
Chinese Calligraphy
European Illumination - Celtic Style
The Illumination Art of South-East Asia
European Illumination - Romanesque Style
European Illumination - Renaissance Style

Introduction[1]
The centers of early Gothic illumination were in France, particularly Paris and England, where in the course of the thirteenth century, secular illuminators took over from their monastic colleagues. With a new emphasis on books from the people, both books and illumination became smaller in scale than in the Romanesque period.

Dance Macabre Gothic Medieval Art Print Set.

In the course of the Gothic period, an interest in realism grew, culminating in the flower-strewn borders produced by the Flemish masters at the end of the fifteen century. Spiralling plant tendrils often decorated initial letters, with Byzantine blossoms inset in the centers. Highlighting became popular, as did the use of reverse curves, known as newbury after the heraldic term for clouds.

God as the architect of the world. A scene from The Bible Moralisee (ca.1220, Bibliotheque Nationale, Paris).
Note the influence of Byzantine.

Italian painting had an increasing influence on the Gothic illuminators, seen early in the work of Jean Pucelle, who worked in Paris in the early fourteenth century, and later, in the superb work of the Limbourg brothers. The Limbourg brothers worked in Paris on the “The Magnificent Book of Hours of Duc de Berry” between 1413 and 1416, creating two of their greatest masterpieces, Les Belles Heures and Les Trés Riches Heures.

Belles Heures of Jean de France, Duc de Berry.

Très Riches Heures du Duc de Berry.

It was the popularity of such books which spawned mass production of illuminated works, sadly often resulting in repetitive and unimaginative pieces.

The Lombardic Script is more decorative than practical, and there are often alternative forms based on Roman or Celtic shapes. Compared with Vestals of the Romanesque script, there is greater contrast between the thick and thin strokes of this script, and the spaces between the parcel strokes may be filled or left unfilled. The letters may be compressed in weight, height or width and manipulated by reducing them or by amalgamating neighbouring stems.

Gothic capitals from the Lombardic Script, named after its 13th-century Italian origin.

Lombardic capitals combine well with Gothic Blackletter minuscules.



The Origins of Lombardic Letters 'B','S' and 'D'[1]
The complex letter design for the letter 'B' on a page depicting a lion, comes from a bestiary, ca. 1240, now held in the British Library.

Initial 'B', early 13th century.

Also included in the bestiary are pages which depict hedgehogs, cats and hyenas. Among the fabulous animals included are the griffin and the caladrius, which defines the fate of a sick person by facing him or turning away.

Between 1000 and 1400, the liturgical Psalter, more than any other book, was the bread and butter of the illuminator. In general, the Psalter started with a calendar (which was the precedent for the Book of Hours), followed by eight sections of psalms, and ended with hymns and prayers. There was plenty of scope for the illuminator with illustrations for the calendar, miniatures of Old and New Testament scenes and, after the twelfth century, historiated initials for the eight sections of psalms.

The High Gothic initial 'S' has been adapted from a Psalter made for the Magnificent Book of Hours of Duc de Berry in about 1380. The trailing ivy motif is more naturalistic than the decoration used in earlier Gothic works and shows the influence of the Italian Renaissance on the High Gothic style.

The initial 'S' from the psalter of Jean Due de Berry, late 13th century.

The original initial 'D' is from a fifteenth-century French book of hours and depicts the story of David and Bathsheba. Books of hours were popular devotional books of the later middle ages and contained a series of services to be cited during the day. The letter is attractively decorated with naturalistic flowers, but it shows the result of mass production - a wooden outline with extreme simplification and hurried coloring.

The artist adapted the design of the decoration in order to isolate the initial from the miniature, the border and text. He successfully recaptures the beauty of this age of realism, restoring the precision of the illumination, particularly in the highlighting.

Translucent watercolour was used for the flowers, building them up in thin washes from light to dark. The use of gold for the background is typical of the time and, with the shadows across it, the illusion is complete.

The Finished Reproductions of the Letters 'B','S' and 'D' Based on The Above[1]

The brilliant gilded spirals, together with the three-dimensional colored filigree, create an initial which is complemented by the creamy color of the vellum. It is not surprising that bestiaries were so popular in medieval times: the combination of such attractive illumination and the depiction of real and fabulous animals would appeal to all. Such a work of art could be framed and should survive for many years.

The combination of the brilliant raised gilding and the jewel-like colors create a stunning piece of illumination. The shaped gesso allows the light to fall on the gold along one side, producing contrasts of brilliance. If applied correctly, it is very difficult to remove or break as the many examples surviving from medieval times testify.

The result is highly decorative and will be enjoyed by generations to come. By painting the pansies in such a naturalistic way, the artist has taken an idea from the original manuscript and, using his knowledge of high quality examples from the period of realism, has created a small masterpiece.

Reference:
[1] P. Seligman and T. Noad, The Illuminated Alphabet, Simon & Schuster, Sydney (1994).

The Creation of Hurricane Katrina – The DisruptorFine Art Print on PaperMarie-Therese Wisniowski

Preamble
For your convenience I have listed below other posts featuring my prints on paper that has featured on this blogspot:
Made to Order
Unique State (Partners in Print)
Veiled Curtains
A Letter to a Friend
Beyond the Fear of Freedom
Travelling Solander Project
Star Series
Imprint
Cry for the Wilderness
Federation on Hold – Call Waiting
Wish You Were Where?
The Four Seasons
The Creation of Hurricane Katrina – The Disruptor
The Creation of ‘Whose Place? My Place, Your Space’
The ‘Vine Glow’ Series
Vine Glow - Series 2
Vine Glow - Series 3
‘Whose Church?’
‘A Journey Ends . . . Another Nightmare Begins’

Introduction
In 2019 the Newcastle Printmakers Workshop in Newcastle, NSW, Australia celebrate 40 years as the oldest community access printmaking workshop in Australia! A most significant event marking an important juncture in Australia’s printmaking history!

With a long history of exhibiting in Newcastle, the NPW decided to combine two significant historical exhibitions as inspiration for their 40/40 exhibition. These were called the Mini print (1985– 2014) and the Book print (1988-2006). The Mini print was traditionally made up of small framed prints exhibited in Newcastle and regional NSW. On the other hand, the Book print was an edition of 26 prints, bound into a large format book and so constituted a collector’s item. The 40/40 exhibition consists of 28 x 28 cm framed prints, along with a series of artist books containing the prints (mini print and book print combined). The 40/40 exhibition will also tour throughout Australia in the future.

Forty current and past NPW printmakers were engaged and selected to celebrate this 40 year milestone anniversary. Each participating artist was randomly assigned a year that spanned the history of the workshop in order as a base for their art concept. Works could focus on global, local or personal interpretations. Each printmaker created an edition of 12 prints with a maximum print size of 28 x 28 cm.

My given year was 2005 and I based my art print on the fruits of my research which centered on the devastating effects that Hurricane Katrina caused on the City of New Orleans. My print, ‘Hurricane Katrina - The Disruptor’, along with 39 other exceptional prints will be exhibited at the 2019 ’40/40’ NPW celebratory anniversary exhibition at Art Systems Wickham Gallery, Newcastle, NSW, between the 8th to the 24th November 2019. Hope to see you there!

Hurricane Katrina - The Disruptor
Before I start on any print project my golden rule is to do an extensive amount of research on the topic.

Research on Hurricane Katrina was easily gleaned via multiple sources on the internet, from books and documentaries. Whilst I gutted libraries and other warehouses of information, I also focused on what media and design I should employ. That is, a synergic relationship between information gained from research and the form or design of the print that works for me.

Numerous images were sourced and/or sketched that concentrated on various visual and cultural associations with the City of New Orleans. Having visited New Orleans the previous year of the hurricane, I also had an extensive personal portfolio of photographs, which I could reference. Printmaking tools were then created employing the numerous images.

After creating three very different proofs/versions of prints containing various combinations of design elements, I finally settled on the third proof/version. This printed proof featured all of the design elements that I felt captured the visual aesthetic that I wanted to encapsulate in my print edition. The following images and text give you an insight into the processes that were employed to create my multi-layered print ‘Hurricane Katrina - The Disruptor’.

Artist Statement: Hurricane Katrina – The Disruptor
As the world’s population is spiralling out of control, the number of sources for greenhouse gas emissions will increase (e.g. power usage) and the number of sinks for greenhouse gas capture will decrease (e.g. land clearage). Scientific studies suggest that the strength of hurricanes have increased in intensity due to climate change.

Hurricane Katrina (category 5) hit New Orleans in August 2005 and killed an estimated 1,833 people. Millions of people were left homeless and it’s estimated cost was US$161 billion. It took 14 years to rebuild New Orleans, although work is still in progress.

Technique and Media
Silkscreened, stencilled, stamped and mono printed employing glazes, transparent, opaque and metallic pigments on Stonehenge stock.

Hurricane Katrina - The Disruptor
Steps and layers involved in creating the limited edition print.
The following images and text give you an insight into the processes that were employed to create my multi-layered print ‘Hurricane Katrina - The Disruptor’.

The first series of printed images consisted of the following five layers as can be seen in the above example:
1. An initial mono printed layer printed in a metallic black glaze as a textured background.
2. Screen printed images in mid metallic black of a building in the New Orleans French Quarter.
3. Screen printed images in white of New Orleans jazz musicians playing their instruments.
4. Stenciled shapes overprinted in white to add depth to the images of the jazz musicians.
5. Screen printed images in gold of French Quarter ironwork used in fencing, balconies, gates and door insets.

The second series of printed images consisted of the following overprinted six layers as can be seen in the above example:
6. Screen printed images in white of the swirling hurricane viewed from above.
7. Stamped images in blue of water references.
8. Stamped images in blue of habitat loss references.
9. Stamped images in blue of communication disruption references.
10. Stamped images in blue of rising water/flooding references.
11. Areas overprinted in white indicating the strength of winds as the storm surge moves onto land.

The third series of printed images consisted of the following overprinted three layers as can be seen in the above example:
12. Screen printed images in metallic black referencing uprooted leafless trees.
13. Screen printed image in terracotta of the year ‘2005’ when Hurricane Katrina devastated New Orleans.
14. Screen printed image in white of the extensive rainfall that Hurricane Katrina brought together with the storm surges over the ‘05’ section of the print.

The fourth series of printed images consisted of the following overprinted two layers as can be seen in the above example:
15. Screen printed images in white of deconstructed musical notes.
16. Screen printed images in apricot referencing scrawled graffiti messages.

The fifth series of printed images consisted of the following overprinted four layers as can be seen in the above example:
17. Screen printed images in a heavier white pigment of deconstructed musical notes.
18. Screen printed images in apricot of the swirling hurricane viewed from above.
19. Screen printed images in terracotta of strewn twigs/branches.
20. Screen printed image in gold of the City of New Orleans logo.

The sixth series of printed images consisted of the following overprinted four layers as can be seen in the above example:
21. Screen printed images in pale teal of deconstructed New Orleans jazz musicians with small musical notes floating above them.
22. Screen printed images in metallic black of swirling leaves.
23. Screen printed images in blue of swirling leaves.
24. Screen printed image in blue of words painted on the rooftop of a home informing the helicopter rescue service of how many people and animals needed to be rescued.

Note: With the exception of one area of the print, all of the design and color elements that captured the visual aesthetic that I wanted to encapsulate, balanced. The swirling metallic black leaves were too dark with the visual ‘weight’ of the leaves dominating and forcing the eye to the top left corner rather than moving around the print.

The seventh proof print in the series extended the swirling metallic black leaves from the left corner to the central area of the print but again the swirling metallic black leaves were too dark with the visual ‘weight’ and position of the leaves dominating and forcing the eye to the top left corner/central area thereby not allowing the eye to move around the print.

The image of the final print.
In the final version of the print, the swirling leaves were printed in a pale metallic black glaze and re-positioned so that the visual ‘weight’ of the leaves did not dominate thereby allowing the eye to move around the print and allowing the viewer to explore the various elements that give the print its multi-layered levels of depth.

I hope this gives you an insight in what I do as a printmaker in order to birth a final print from an imagined work. Hence, you can see for me its a dynamic rather than a static process. I hope you have enjoyed the insight into my printmaking process!

Paisley Patterns - Part IIIArt EssayMarie-Therese Wisniowski

Preamble
For your convenience I have listed other posts in this series:
Paisley Patterns - Part I
Paisley Patterns - Part II

Introduction
Paisley has been more or less fashionable for the last decade, but there was a particular upsurge of interest over the 1988-89 winter season. Suddenly not just Paisley patterns, but the modern version of the Paisley shawl, hit the high streets of Britain with a vengeance. Virtually all of these modern shawls have the pattern printed on and are mainly produced in Italy. However, they can be found in all qualities ranging from the very high class printed silks retailed under couture names such as Hermes and Valentino or Etro, sometimes costing hundreds of dollars down to the cheap polyester fabrics which can be purchased in the local shopping center.

Etro Paisley Shawl.

The modern shawls differ quite considerably from those worn in Victoria times - the latter were large, heavy and unwieldy. Trying to put on a Paisley plaid makes one realise how heavy and cumbersome such shawls were.

Handmade Paisley Shawl, ca. 1860s.

Today's shawls do not have to cover enormous crinoline skirts or perform the function of a coat.

Bustle dresses.

Crinoline (1860-1870).

The modern Paisley printed shawls cannot match the grand scale achieved in the nineteenth century. In fact, amongst the shawls currently on the market, the commonest type which is reminiscent of the antique product has a plain color center and a sophisticated, almost miniaturised, version of the Paisley plaid design around the edges. These cheap and cheerful wraps can be found in any and every color to match any modern outfit.

Modern Paisley Shawl.

Paisley Pattern - Part III
Many of the producers of modern Paisley shawls have consulted the patterns books in the Paisley Museum and have used them as a basis for new interpretations of the ancient motif. The motifs below and commentary have been obtained from reference [1].

Comment[1]: This gauze print pattern carries the stamp of the designer,'Chles Boucherat, Paris, 7 Rue Mazagram, Boule. Bonne Nouvelle'. It dates to the 1850s.

Comment[1]: An unusual striped design for a silk gauze printed shawl ca. 1860.

Comment[1]: A striped design for a gauze print perhaps intended for roller printing.

Comment[1]: Sometimes the outline of the Paisley motif was made, not so much by its filling, as by the absence of the pattern immediately around it. This design gives a particularly good example of the 'voided' technique.

Comment[1]: These two patterns from the book of Designs for Gauze Prints, French and English (1850-1860) show us that the sprig design of the central area was called filling, whilst the border design was called flounce.

Comment[1]: An early border pattern of extremely stylized floral motifs.

Comment[1]: A fine printed shawl design, probably intended for roller printing, presented to the Paisley Museum by former shawl manufacturer John Robertson.

Comment[1]: 1860's design for a silk gauze printed shawl.

Reference:
[1] V. Reilly, Paisley Patterns, Portland House, New York (1989).

Traditional Indian Textiles - Part IIArt ReviewMarie-Therese Wisniowski

Preamble
For your convenience, I have listed the other post in this series:
Traditional Indian Textiles - Part I

Introduction [1]
One of the fundamental reasons for the continuing success of Indian textile manufacturing, over the centuries, has been its ability to cope with a broad range of market demands. Indian weavers, dyers and embroiderers have been guided by the marketplace and more recently by government craft societies to produce textiles that might be best described as being constructed for the market place.

Bengali women arrayed in jamdani and brocade saris.

The flexibility with production, combined with the energy of a largely traditional Indian craft society, has resulted in the outpouring of textiles with an enormous variety of colors, patterns and textures.

Woman block-printing yardage in Jodhpor, Rajasthan (India).

Of all the textile crafts, the crafts people in India have brought the act of dyeing to a high level art form. Whether it is mastering the art of natural dyes or applying synthetic dyes to color cloth, the Indian crafters have led the way.

Freshly printed textile being washed in the Sabarmati river, Ahmedabad, Gujarat, India.

Chemical dyes are now used on all types of yarn as they are relatively easy to handle, are cheap, encompass a vast array of color and moreover, permit land to be released for more useful and/or natural purposes and so are blind to the vagaries of weather and climate change. However, if not handled safely or disposed of in an environmentally safe manner, they can also cause complications.

North Indian portrait of a man and a boy wearing Kashmir shawls with resist-dyed turbans.

Traditional Indian Textiles - Part II

'Gulladan' (a silk turban length) Made of warp-laced brocade, worn by bridegrooms of the Maldhari cattle-trading castes in Sind, Banni Kutch and western Rajasthan. Multan, west Punjab, is the only surviving production center. They were formerly woven in Sind.

Sindhi 'bandana' (tie-and-dyed) odhni, worn by the women of the Meghwal leather-workers caste of That Parkar, and made by the Hindu Khatri dyers of Khipro Sangar, Sind.

The above three cloth pieces are block-printed cloth lengths from Jodhpur or Zjaisalmer, Rajasthan, and Deesa, Gujarat, India.

Single- and double-ikat sari in the Orissan style, but woven at Masulipatnam, Andhra Pradesh.

Single-ikat bedsheet of cotton, from Nuapatna, Orissa (India).

'Tangalia' (wooden loin cloth) worn by the women of the Bhanwad herders of Saurashtra, India.

Reference:
[1] Traditional Indian Textiles, John Gillow and Nicholas Barnard, Thams and Hudson, London (1993) ISBN 0-500-27709-5.

Durable Press and Wash-and-Wear Finishes - Part IArt ResourceMarie-Therese Wisniowski

Preamble
This is the ninety-third post in the "Art Resource" series, specifically aimed to construct an appropriate knowledge base in order to develop an artistic voice in ArtCloth.

Other posts in this series are:
Glossary of Cultural and Architectural Terms
Units Used in Dyeing and Printing of Fabrics
Occupational, Health & Safety
A Brief History of Color
The Nature of Color
Psychology of Color
Color Schemes
The Naming of Colors
The Munsell Color Classification System
Methuen Color Index and Classification System
The CIE System
Pantone - A Modern Color Classification System
Optical Properties of Fiber Materials
General Properties of Fiber Polymers and Fibers - Part I
General Properties of Fiber Polymers and Fibers - Part II
General Properties of Fiber Polymers and Fibers - Part III
General Properties of Fiber Polymers and Fibers - Part IV
General Properties of Fiber Polymers and Fibers - Part V
Protein Fibers - Wool
Protein Fibers - Speciality Hair Fibers
Protein Fibers - Silk
Protein Fibers - Wool versus Silk
Timelines of Fabrics, Dyes and Other Stuff
Cellulosic Fibers (Natural) - Cotton
Cellulosic Fibers (Natural) - Linen
Other Natural Cellulosic Fibers
General Overview of Man-Made Fibers
Man-Made Cellulosic Fibers - Viscose
Man-Made Cellulosic Fibers - Esters
Man-Made Synthetic Fibers - Nylon
Man-Made Synthetic Fibers - Polyester
Man-Made Synthetic Fibers - Acrylic and Modacrylic
Man-Made Synthetic Fibers - Olefins
Man-Made Synthetic Fibers - Elastomers
Man-Made Synthetic Fibers - Mineral Fibers
Man Made Fibers - Other Textile Fibers
Fiber Blends
From Fiber to Yarn: Overview - Part I
From Fiber to Yarn: Overview - Part II
Melt-Spun Fibers
Characteristics of Filament Yarn
Yarn Classification
Direct Spun Yarns
Textured Filament Yarns
Fabric Construction - Felt
Fabric Construction - Nonwoven fabrics
A Fashion Data Base
Fabric Construction - Leather
Fabric Construction - Films
Glossary of Colors, Dyes, Inks, Pigments and Resins
Fabric Construction – Foams and Poromeric Material
Knitting
Hosiery
Glossary of Fabrics, Fibers, Finishes, Garments and Yarns
Weaving and the Loom
Similarities and Differences in Woven Fabrics
The Three Basic Weaves - Plain Weave (Part I)
The Three Basic Weaves - Plain Weave (Part II)
The Three Basic Weaves - Twill Weave
The Three Basic Weaves - Satin Weave
Figured Weaves - Leno Weave
Figured Weaves – Piqué Weave
Figured Fabrics
Glossary of Art, Artists, Art Motifs and Art Movements
Crêpe Fabrics
Crêpe Effect Fabrics
Pile Fabrics - General
Woven Pile Fabrics
Chenille Yarn and Tufted Pile Fabrics
Knit-Pile Fabrics
Flocked Pile Fabrics and Other Pile Construction Processes
Glossary of Paper, Photography, Printing, Prints and Publication Terms
Napped Fabrics – Part I
Napped Fabrics – Part II
Double Cloth
Multicomponent Fabrics
Knit-Sew or Stitch Through Fabrics
Finishes - Overview
Finishes - Initial Fabric Cleaning
Mechanical Finishes - Part I
Mechanical Finishes - Part II
Additive Finishes
Chemical Finishes - Bleaching
Glossary of Scientific Terms
Chemical Finishes - Acid Finishes
Finishes: Mercerization
Finishes: Waterproof and Water-Repellent Fabrics
Finishes: Flame-Proofed Fabrics
Finishes to Prevent Attack by Insects and Micro-Organisms
Other Finishes
Shrinkage - Part I
Shrinkage - Part II
Progressive Shrinkage and Methods of Control
Durable Press and Wash-and-Wear Finishes - Part I
Durable Press and Wash-and-Wear Finishes - Part II
Durable Press and Wash-and-Wear Finishes - Part III
Durable Press and Wash-and-Wear Finishes - Part IV
Durable Press and Wash-and-Wear Finishes - Part V
The General Theory of Dyeing – Part I
The General Theory Of Dyeing - Part II
Natural Dyes
Natural Dyes - Indigo
Mordant Dyes
Premetallized Dyes
Azoic Dyes
Basic Dyes
Acid Dyes
Disperse Dyes
Direct Dyes
Reactive Dyes
Sulfur Dyes
Blends – Fibers and Direct Dyeing
The General Theory of Printing

There are currently eight data bases on this blogspot, namely, the Glossary of Cultural and Architectural Terms, Timelines of Fabrics, Dyes and Other Stuff, A Fashion Data Base, the Glossary of Colors, Dyes, Inks, Pigments and Resins, the Glossary of Fabrics, Fibers, Finishes, Garments and Yarns, Glossary of Art, Artists, Art Motifs and Art Movements, Glossary of Paper, Photography, Printing, Prints and Publication Terms and the Glossary of Scientific Terms, which has been updated to Version 3.5. All data bases will be updated from time-to-time in the future.

If you find any post on this blog site useful, you can save it or copy and paste it into your own "Word" document etc. for your future reference. For example, Safari allows you to save a post (e.g. click on "File", click on "Print" and release, click on "PDF" and then click on "Save As" and release - and a PDF should appear where you have stored it). Safari also allows you to mail a post to a friend (click on "File", and then point cursor to "Mail Contents On This Page" and release). Either way, this or other posts on this site may be a useful Art Resource for you.

The Art Resource series will be the first post in each calendar month. Remember - these Art Resource posts span information that will be useful for a home hobbyist to that required by a final year University Fine-Art student and so undoubtedly, some parts of any Art Resource post may appear far too technical for your needs (skip over those mind boggling parts) and in other parts, it may be too simplistic with respect to your level of knowledge (ditto the skip). The trade-off between these two extremes will mean that Art Resource posts will hopefully be useful in parts to most, but unfortunately may not be satisfying to all!

Durable Press and Wash-and-Wear Finishes[1]
Surveys have shown that ironing is the household task that women hate the most.

Durable press and wash-and-wear finishes for cotton, linen and rayon fabrics have greatly reduced the amount of time spent ironing. The cellulose fibers have always been low in resiliency and fabrics made from them have had very poor recovery from wrinkles.

No caption needed!

Wrinkles are undesirable mussiness and puckering in fabrics caused by wear and washing. They are formed under a wide range of pressures, temperatures, humidities and they take various times to recover. This makes the finishing of a fabric, primarily to improve its behaviour, a complicated affair. Creases are sharp folds added to a fabric deliberately by pressing (e.g. pleats and the like) for purposes of styling.

The introduction of the first finish by Tootal, Broadhurst, Lee of England for improvement of wrinkle recovery, coincided with the development in the United States of the first wash-and-wear synthetic fibers, in and around 1940. The finishing substance was a resin. Urea formaldehyde, the first resin finish, was used on linen and rayon; but because of poor chlorine resistance and loss of strength, its use on cotton was limited. Regular rayon fibers have always had poor wash-ability and the resin treatments further reduce rayon's wet abrasion resistance, so the finish was limited to dry-cleanable rayon fabrics, which were sold as "crease resistant" materials.

Urea formaldehyde is a very common chemical and is mostly used because of its chemical properties. Examples are textiles, paper, foundry sand molds, wrinkle resistant fabrics, cotton blends, rayon, corduroy, etc.

In 1940, melamine formaldehyde resins were developed for use on cotton and that's when the wash-and-wear finishes got their start. The polyester/cotton blends were introduced in 1954 about a year after the first polyester - Dacron - was made. Only the cotton component of the blend required a resin finish. Dacron was a higher-priced fiber and was not used in low-cost items, whereas 100% cotton was used at all price levels.

Samuji Dacron Dress.

The idea of setting permanent shape (i.e. durable press) in a garment began in 1955 when Korot of California asked their suppliers to apply and dry the resin monomer on the cotton cloth, but not to cure it. Korot then cut and pleated the fabric and oven cured the garment to set the pleats. The wash-and-wear industry took little interest in this change in the conventional process until 1964 when Levi Strauss introduced "Oven-Baked" pants of 100% cotton under the Korot trade name, Koratron.

1960s black flat front cuffed pants.

They were a trendies and instantaneous success even though the first pants split at the creases and cuff edges frayed after two or three washings. Men's shirts were next given the durable press finish shown in the two figures below.

Durable-dress shirt[1].

Durable press shirting fabrics[1].

Within two years, dresses, blouses, rainwear, jackets, sheets, and pillow cases were made with a durable-press finish.

It is said that each garment has an associated drama. For example, in slacks the focal point is the crease; and if it is a good sharp crease, some puckering or wrinkling does not dissatisfy the consumer. This might account for the immediate acceptance of the durable press concept.

To overcome the high strength loss and the lowering of abrasion resistance caused by the resin and the high heat of curing, manufacturers gradually shifted to the use of "reinforcing" synthetic fibers blended with cotton (Nylon 420, Tough Stuff Vycron, etc.)

Research into 100% cotton was intensified to find a durable-press finish that would leave the cotton fiber with most or all of its natural good wearing qualities but that would give the additional durable-press performance.

1970s durable press red floral cotton shirt XL.

Reference:
[1] N. Hollen and J. Saddler, Textiles, 3rd Edition, MacMillan Company, London (1968).