Introduction
There is an increasing scceptance of the fiber arts by major museums and galleries. Fashion in particular forms an important category collection in national museums and galleries throughout the developed world. Some of these institutions are solely dedicated to this category (eg. Costume Museum of Canada).
Mission Statement: The costume we wear each day is influenced by climate, occupation, economic factors, societal role, religion, the task at hand, age, gender and the time in which we live. Our museum seeks to preserve and exhibit the costumes worn by the people of Canada over the decades.
Wearables from the USA [1]
Designer and Descriptor: Karen K. Brito, Dry Savannah Pelt (two views).
Materials and Tehniques: White-shadow and arashi shibori; silk, glass beads, metal logo.
Comment [1]: "My goal is to combine color and texture in such a way that the texture makes the color shimmer, and the color accentuates the texture."
Photo Courtesy: Joe van de Hatert.
Designer and Descriptor: Heather Nania, Orchid Dress.
Materials and Tehniques: Screen printed, discharged, shibori heat-set; silk organza, charmeuse.
Photo Courtesy: M Studio.
Designer and Descriptor: Cheri Reckers, Peacock Ensemble.
Materials and Tehniques: Dyed, hand painted, hand and machine stitched; silk/rayon/stretch velvet, silk satin georgette, silk double-crepe georgette, feathers, dyes, gutta resist.
Comment [1]: Inspired by neighboring peacocks whose quiet elegance unfolds into a dramatic display with a profusion of color.
Photo Courtesy: Michael Ceschiat.
Designer and Descriptor: Kayla Kennington, Fire Blossom Phoenix.
Materials and Tehniques: Quilted, digitized, embroidered, draped, pin-tucked; Vietnamese silk, Cambodian organza, beads, thread.
Comment [1]: This piece was done as a tribute to the villagers in Vietnam who created this wonderful fabric. It won the "Créme de la Créme" top award for the Bernina Fashion Show in 2002.
Photo Courtesy: Michael Ceschiat.
Designer and Descriptor: Koos van den Akker, Circles Swing Coat.
Materials and Tehniques: Appliquéd, taped, couched, quilted; cashmere, rayon, silk taffeta, wool yarn, flocked chiffon.
Photo Courtesy: Larry Friar.
Designer and Descriptor: Kay Disbrow, Tibetan Prayer Bead.
Materials and Tehniques: Dye painted, dextrin resist, sewn; silk/rayon velvet.
. Comment [1]: These pieces were created as a personal resistence to violence in our culture, using a touchstone - a Tibetan prayer bead - as a reminder of the many traditions of work that were created to highlight a pathway towards inner peace.
Model: Emily Barzin.
Photo Courtesy: Peter Kricker.
Designer and Descriptor: Cynthia McGuirl, Kimono 74.
Materials and Tehniques: Woven, sewn; cotton warp, rayon chenille weft.
Comment [1]: "My current weaving uses rayon chenille on a fine cotton warp in polychrome summer and winter weave. This combination creates a visual language of rug design in a soft, velvety fabric that is brought to life by the wearer."
Reference:
[1] Editor: S.M. Kiefer, Fiber Arts Design Book 7, Lark Books, New York (2004).
There is an increasing scceptance of the fiber arts by major museums and galleries. Fashion in particular forms an important category collection in national museums and galleries throughout the developed world. Some of these institutions are solely dedicated to this category (eg. Costume Museum of Canada).
Wearables from the USA [1]
Materials and Tehniques: White-shadow and arashi shibori; silk, glass beads, metal logo.
Comment [1]: "My goal is to combine color and texture in such a way that the texture makes the color shimmer, and the color accentuates the texture."
Photo Courtesy: Joe van de Hatert.
Materials and Tehniques: Screen printed, discharged, shibori heat-set; silk organza, charmeuse.
Photo Courtesy: M Studio.
Materials and Tehniques: Dyed, hand painted, hand and machine stitched; silk/rayon/stretch velvet, silk satin georgette, silk double-crepe georgette, feathers, dyes, gutta resist.
Comment [1]: Inspired by neighboring peacocks whose quiet elegance unfolds into a dramatic display with a profusion of color.
Photo Courtesy: Michael Ceschiat.
Materials and Tehniques: Quilted, digitized, embroidered, draped, pin-tucked; Vietnamese silk, Cambodian organza, beads, thread.
Comment [1]: This piece was done as a tribute to the villagers in Vietnam who created this wonderful fabric. It won the "Créme de la Créme" top award for the Bernina Fashion Show in 2002.
Photo Courtesy: Michael Ceschiat.
Materials and Tehniques: Appliquéd, taped, couched, quilted; cashmere, rayon, silk taffeta, wool yarn, flocked chiffon.
Photo Courtesy: Larry Friar.
Materials and Tehniques: Dye painted, dextrin resist, sewn; silk/rayon velvet.
. Comment [1]: These pieces were created as a personal resistence to violence in our culture, using a touchstone - a Tibetan prayer bead - as a reminder of the many traditions of work that were created to highlight a pathway towards inner peace.
Model: Emily Barzin.
Photo Courtesy: Peter Kricker.
Materials and Tehniques: Woven, sewn; cotton warp, rayon chenille weft.
Comment [1]: "My current weaving uses rayon chenille on a fine cotton warp in polychrome summer and winter weave. This combination creates a visual language of rug design in a soft, velvety fabric that is brought to life by the wearer."
Reference:
[1] Editor: S.M. Kiefer, Fiber Arts Design Book 7, Lark Books, New York (2004).
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