Search
You searched for contributors, issues and articles tagged with Textiles ...
Contributors
Issues
![Issue 41:1 | April 2021 | Fashion. Performance. Industry. Issue 41:1 | April 2021 | Fashion. Performance. Industry.](/images/issues/4110_600w.jpg)
![Issue 39:1 | March 2019 | Local Colour Issue 39:1 | March 2019 | Local Colour](/images/issues/3910_600w.jpg)
![Issue 34:3 | September 2014 | Bio Art Issue 34:3 | September 2014 | Bio Art](/images/issues/3430_600w.jpg)
![Issue 25:1 | March 2005 | Handmade: The New Labour Issue 25:1 | March 2005 | Handmade: The New Labour](/images/issues/2510_600w.jpg)
![Issue 24:3 | September 2004 | Currents I Issue 24:3 | September 2004 | Currents I](/images/issues/2430_600w.jpg)
![Issue 17:1 | March 1997 | Australian Design Issue 17:1 | March 1997 | Australian Design](/images/issues/1710_600w.jpg)
![Issue 12:2 | June 1992 | Thinking Craft, Crafting Thought Issue 12:2 | June 1992 | Thinking Craft, Crafting Thought](/images/issues/1220_600w.jpg)
Articles
![1.092](/images/articles/cards/4898.jpg)
“Look at that: you made it”
Alanna Okun, The Curse of the Boyfriend Sweater.
I learned to sew as a young child. Sitting in my mother’s lap, I picked up the delicate and confident touch and precision to snip threads and manipulate cloth as she made clothes for herself, my sister and me. Before I could read and write, I was adept at using a needle and thread to form my creative visions in the three-dimensional materiality of cloth. Mum taught me to cut, alter and mend to make efficient use of materials and garments, a make-do-and-mend sensibility that she learned from her own mother, raised during the Depression in rural South Australia. At my mother’s side, I also came to understand and express my sartorial sensibility and identity through the garments I made. Mine is a common story.
![0.668](/images/articles/cards/4901.jpg)
“Beauty is a curse and I’ve got it.”
Effie is the most beloved character from the 1989 Australian TV sitcom Acropolis Now, which is set in a fictional café of the same name. Her character is a defiant assertion of “wog” ways: her high hair and incessant gum-chewing are flamboyant stereotypes, but her character, and those of her castmates, were then new to Australian TV. Acropolis Now, a spin-off from the highly successful stage play Wogs out of Work, dislodged the Anglo-centric narratives of Australian comedy TV. The show has been credited with popularising the term “skippy” or “skip”, used by Greek, Italian and other non-Anglo Australians to refer to Anglo-Celtic Australians since the 1970s.
![0.788](/images/articles/cards/4904.jpg)
How do you haunt a ghost?
For the most part, this is not a rhetorical question because, simply put, a ghost can’t be haunted: it is the medium of haunting itself. The space-time paradigm of the terrestrial won’t allow for it. Haunting, as conceived in the vernacular imagination, demarcates an activity reserved solely for “the unhallowed dead of the modern project”, those improperly buried inheritors and victims of repressed, unresolved violence and injury—those whose lives were stalled and silenced. So by virtue of this logical impasse, you can’t technically haunt a ghost.
![0.788](/images/articles/cards/4743.jpg)
I find it harder and harder every day to live up to my blue china.
Oscar Wilde, 1874
As an aesthete Wilde surrounded himself with beautiful objects. This epigram from his Oxford days paid tribute to and satirised the Victorian craze for the exotic. At Oxford University Wilde was introduced to the culture of aesthetes by art critic and philanthropist John Ruskin whose writings on craft also influenced William Morris.
![0.77](/images/articles/cards/4746.jpg)
Wardlipari is the homeriver in the Milky Way.
Purlirna kardlarna ngadluku miyurnaku yaintya tikkiarna.
The stars are the fires of people living there. Yurarlu yurakauwi trruku-ana padninthi Wardlipari.
Yurakauwi the rainbow serpent goes into the dark spots in the Milky Way.
Ngaiyirda karralika kawingka tikainga yara kumarninthi.
When the outer world and the sky connect with the water the two become one.
![0.77](/images/articles/cards/2052.jpg)
![1.54](/images/articles/cards/2053.jpg)
![0.98](/images/articles/cards/2054.jpg)
![1.418](/images/articles/cards/2055.jpg)
![0.706](/images/articles/cards/2056.jpg)
![0.722](/images/articles/cards/2057.jpg)
![0.73](/images/articles/cards/2058.jpg)
![0.75](/images/articles/cards/2059.jpg)
![0.518](/images/articles/cards/2060.jpg)
![0.712](/images/articles/cards/2061.jpg)
![0.75](/images/articles/cards/2062.jpg)
![0.672](/images/articles/cards/2063.jpg)
![0.61](/images/articles/cards/2064.jpg)
![1.336](/images/articles/cards/2065.jpg)
![0.658](/images/articles/cards/2066.jpg)
![1.376](/images/articles/cards/2067.jpg)
![1.062](/images/articles/cards/2068.jpg)
![0.69](/images/articles/cards/2264.jpg)
![0.436](/images/articles/cards/2266.jpg)
![0.748](/images/articles/cards/2269.jpg)
![0.71](/images/articles/cards/2270.jpg)
![0.752](/images/articles/cards/2272.jpg)
![0.662](/images/articles/cards/2273.jpg)
![0.674](/images/articles/cards/2274.jpg)
![1.332](/images/articles/cards/2275.jpg)
24 November – 19 December 2004
![0.67](/images/articles/cards/2110.jpg)