Textiles are a beautiful way to display designs unique to each nation around the world. Often, these designs are fabrics containing intricate, colorful patterns and embellishments. Textiles are usually created for traditional wear - from Japanese kimonos to Scottish kilts - and for decorative pieces meant to be valued for their unique artistry.
Here is a sample of some textiles from around the world that are rich in both beauty and history.
Tartan (Scotland)
One of the first things people associate Scotland with is a textile called tartan. In other words, tartan is often the symbol of Scottish identity.
According to the Scottish Register of Tartans Act (2008) Section 2, a tartan is a "design which is capable of being woven consisting of two or more alternating colored stripes which combine vertically and horizontally to form a repeated checkered pattern."
In Scotland, tartan is often associated with heritage, especially when it comes to clans. Different clans have unique and specific tartan patterns containing specific colors and patterns that represent the heritage and history of each clan.
Every year on April 6, Tartan Day is celebrated globally to celebrate Scottish heritage and culture.
You can find all the officially registered tartans on the Scottish Register of Tartans.
Yuzen silk (Japan)
The Yuzen method, a well-known dyeing technique tracing back to the Japanese Edo period (1603-1868), is typically found in Japanese kimonos. The delicate textile can also be found in coin purses and beautiful fans.
The technique involves multiple stages, each of which is an intricate art form. Yuzen paints patterns with a rice paste that acts like a wax that resists the color upon painting the fabric with dye. The painting must be done by hand, especially with the more intricate and finer details.
Japanese company Chiso has excelled in the yuzen dyeing technique for over 400 years. Thanks to its long history, the company has the knowledge to create such beautiful fabrics and kimonos, as well as an extensive collection of over 20,000 pieces of traditional Japanese fashion.
Mexican embroidery
One standout feature in Mexican culture and history is the traditional textiles, especially the embroidery. Usually, Mexican textiles are made by using a loom, either the pre-Hispanic backstrap loom or the foot pedal loom, which was introduced during the European conquests.
Different types of Mexican textiles include huipiles (embroidered women's shirts), long skirts, zarapes (Mexican ponchos), tablecloths and wall hangings. Typically, the intricate embroidered designs are carefully stitched by hand.
Mexican textile patterns and motifs include flowers, animals, indigenous symbols, spirals and zig-zags. Flowers and animals are among popular subjects, with flowers being a common design element in clothing made by Nahuas, Huastecs, Huichols and Otomis in central Mexico.
The zarapes of Saltillo are one of the most recognizable Mexican textiles, which consist of brightly colored geometric figures.
Mayan Guatemalan textiles
Guatemala is rich in history and culture, with over 22 ethnic groups. One way of demonstrating Guatemala's traditions and history is through textiles.
Every group has different symbols and meaning according to Mayan beliefs and traditions in a particular area. Additionally, each regional Guatemalan textile has unique patterns, which provides a unique way of identification.
For example, in Nawala (a small K'iche' community in the Solola region), the embroidery is characterized by light and faded pink details on white backgrounds. On the other hand, the embroidery from San Juan Cotzal is vibrant with graphic, linear patterns on a darker background such as gray or green.
The majority of the textiles in Guatemala are woven on two different types of looms: the backstrap or standing loom. The beautiful and intricate embroidery is done entirely by hand using a needle and thread. In other words, no machines are used in this step.
The traditional Mayan outfit includes: the huipil (a hand-embroidered, loose-fitting tunic), the corte (a skirt wrapped around a woman's waist), the faja (a wide embroidered belt to hold the skirt in place) and the tocoyal (a woven head wrap).
For men, the outfit includes the hand-woven shirt, pants, ponchito or rodillera (a cover that goes over the pants).
Kente (Ghana)
When you hold a piece of kente cloth, the first thing you notice is the saturated shades of yellow, green, red and blue. You might also notice identical patterns on the front and back parts of the cloth.
The main characteristic of kente is the vertical strips of fabric, measuring approximately four inches wide. The strips are cut off and sewn together to create larger swaths that can be worn on the body.
Colors of a kente have specific meanings, such as green representing growth and harvest, yellow representing wealth, purple representing healing and blue representing peace and love.
When colors and patterns are combined, they become distinct meanings messages, such as "when you climb a good tree you are given a push" and "you must practice patience in everything you do."
The Ewe and Asante people have woven traditional kente for centuries and the cloth is commonly a mix of cotton and silk. According to master kente weaver Kwasi Asare, Ewe kente cloth is typically "representational," whereas Asante kente tends to be more abstract.
Arguably, kente is one of the most well-recognized pieces of textile from Afrtica to the western world. It has also come to symbolize a sort of solidarity with African heritage. For example, Black college graduates have proudly worn kente stoles every spring.
Marash embroidery (Armenia)
Marash, a region located in southeast Turkey (but once considered a part of Armenia), is known for its highly intricate embroidery. The process involves needle-weaving through a structure of stitches to form small crosses, which interlink to create geometric forms (the "heudsvadz gar").
These forms are commonly symbols of protection and life. The embroidery also contains motifs from Armenian culture, such as the "flower of the seven mountains." In Marash embroidery, the three fundamental stitches are known as "hartagar," "suntousi gar" and "godtgar." These stitches use patterns of birds, fruits or flowers in rich multicolored silk or gold thread.
In order to create greater contrast with the colors, Marash embroidery is usually done on dark velvet.
At a young age, Armenian girls were historically taught the needlework techniques of Marash embroidery. Additionally, women in nobility and peasantry were taught the arts of lacework and weaving, as well as how to embellish textiles with gold and silver thread.
Suzani (Central Asia)
Suzani is an embroidered textile commonly made in Central Asia, notably Uzbekistan, Tajikistan and Kazakhstan.
Usually, suzanis have a cotton (or sometimes silk) fabric base. The embroidery, which is done entirely by hand, is made with a cotton or silk thread. One technique extensively used in suzani making is known as couching, in which a decorative thread laid on a fabric as a raised line is stitched in place with a second layer of thread.
Popular design motifs found in suzanis include sun and moon disks, leaves and vines, fruits (especially pomegranates) and flowers.
Suzanis were historically used as bridal dowries (a common practice in certain Central Asian countries) and were presented to the groom on the wedding day. In other words, Central Asian brides hand-embroidered their own suzanis to represent devotion to the soon-to-be husband.
Batik (Indonesia)
Indonesia is rich in both history and culture. One of the aspects is the traditional Indonesian textile technique called batik.
Batik specifically comes from the Indonesian island of Java, though this art form is practiced throughout Indonesia. This textile art uses wax resists to create ornate patterns. It begins with pouring hot wax over the undyed fabric. Next, the fabric is dyed and the wax is removed to unveil the patterns. To create layered patterns, the process can be repeated numerous times using different colors.
The patterns are not only aesthetic, but were once used to symbolize social standing. For example, certain patterns (such as the knife-like parang pattern) were reserved for Indonesian royalty. Other patterns include abstract concepts such as love and geometric riffs on flora and fauna.
In 2009, batik is so important to Indonesian arts and culture that it was added to the Representative List of the Intangible Cultural Heritage by UNESCO.
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