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References
Notes
1 F. Kerlogue, ‘The Early English Textile Trade in South-East Asia: The East India Company Factory and the Textile Trade in Jambi, Sumatra, 1615–1682’, Textile History, 28, no. 2 (1997), p. 151.
2 V. Habib, ‘Scotch Carpets in the Eighteenth and Early Nineteenth Centuries’, Textile History, 28, no. 2 (1997), p. 164.
3 P. Thornton, Form & Decoration: Innovation in the Decorative Arts, 1470–1870 (London: Weidenfeld & Nicolson, 1998).
4 J. Trilling, The Language of Ornament (London: Thames & Hudson, 2001).
5 Trilling, Language of Ornament, p. 11.
6 D. Brett, On Decoration (Cambridge: Lutterworth Press, 1992); D. Brett, Rethinking Decoration: Pleasure and Ideology in the Visual Arts (Cambridge: Cambridge University Press, 2005).
7 A. Puetz, ‘Design Instruction for Artisans in Eighteenth-Century Britain’, Journal of Design History, 12, no. 3 (1999), pp. 217–39; quotation, p. 223.
8 T. A. Stillie, ‘The Evolution of Pattern Design in the Scottish Woollen Textile Industry in the Nineteenth Century’, Textile History, 1, no. 3 (1970), pp. 309–31.
9 F. Anderson, ‘This Sporting Cloth: Tweed, Gender and Fashion 1860–1900’, Textile History, 37, no. 2 (2006), pp. 166–86.
10 M. Norgate, ‘Sandy Robertson, Damask Designer, Dunfermline’, Textile History, 4 (1973), pp. 116–24.
11 A notable exception is Charles Swaisland’s ‘Rules for the Drawing Shop’ dated around 1845. National Art Library: MSL/1964/774.
12 P. Wardle, ‘John Shepley (1575–1631), Embroiderer to the High and Mighty Prince Charles, Prince of Wales’, Textile History, 32, no. 2 (2001), pp. 133–55.
13 J. Brunton, ‘Annie Garnett: The Arts and Crafts Movement and the Business of Textile Manufacture’, Textile History, 32, no. 2 (2001), pp. 217–38.
14 S. North, ‘The Physical Manifestation of an Abstraction: A Pair of 1750s Waistcoat Shapes’, Textile History, 39, no. 1 (2008), p. 102.
15 M. Thunder, ‘Designs and Clients for Embroidered Dress, 1782–94’, Textile History, 37, no. 1 (2006), pp. 82–90.
16 Combined practice also occurs in the fully professional field, for instance freelance studio designs adapted by in-house industrial teams.
17 M. A. Hann and K. Powers, ‘Tibor Reich — A Textile Designer Working in Stratford’, Textile History, 40, no. 2 (2009), pp. 212–28.
18 H. Taylor, ‘Bernat Klein: An Eye for Colour’, Textile History, 41, no. 1 (2010), pp. 50–69.
19 N. B. Harte, ‘On Rees’ Cyclopaedia as a Source for the History of Textile Industries in the Early Nineteenth Century’, Textile History, 5 (1974), pp. 119–27.
20 J. Irwin, ‘Bibliography of Indian Textiles. Part II. Travellers’ Records, 1300–1700 A.D.’, Journal of Indian Textile History, 2 (1956), pp. 58–62; quotation, p. 62.
21 L. Miller, ‘Manufactures and the Man: A Reassessment of the Place of Jacques-Charles Dutillieu in the Silk Industry of Eighteenth-Century Lyon’, Textile History, 29, no. 1 (2013), pp. 19–40.
22 N. Tarrant, ‘A Hancock Print’, Textile History, 16, no. 1 (1985) pp. 103–05.
23 D. Swallow, ‘The India Museum and the British-Indian Textile Trade in the Late Nineteenth Century’, Textile History, 30, no. 1 (1999), pp. 29–45.
24 Brett, Rethinking Decoration, p. 238.
25 M. Perivoliotis, ‘The Role of Textile History in Design Innovation: A Case Study Using Hellenic Textile History’, Textile History, 36, no. 1 (2005), pp. 1–19.
26 M. Thunder, ‘Capturing Understanding of Women’s Embroidery Designs: A Methodology for Research and a Critique of Cataloguing Databases Using the Example of Women’s Embroidery in Nineteenth-Century Britain’, Textile History, 45, no. 1 (2014), pp. 68–98.
27 N. Thornton, ‘Enigmatic Variations: The Features of British Smocks’, Textile History, 28, no. 2 (1997), pp. 176–84.
28 D. Cardon, ‘Textile Research: An Unsuspected Mine of Information on Some Eighteenth-Century European Textile Products and Colour Fashions Around the World’, Textile History, 29, no. 1 (1998), pp. 93–102.
29 Maxine Berg thoroughly elucidates this theme in ‘From Imitation to Invention: Creating Commodities in Eighteenth-Century Britain’, Economic History Review, 50, no. 1 (2002), pp. 1–30. Another driver for innovation is cost-cutting. Clare Rose examined this in mass-produced boys’ clothing in the last half of the nineteenth century using registered design and copyright records; ‘“The novelty consists in the ornamental design”: Design Innovation and Mass-Produced Boys’ Clothes, 1840–1900’, Textile History, 38, no. 1 (2007), pp. 1–24.
30 T. Kusamitsu, ‘British Industrialization and Design Before the Great Exhibition’, Textile History, 12 (1981), pp. 77–95.
31 H. Clark, ‘The Design and Designing of Lancashire Printed Calicos’, Textile History, 15, no. 1 (1984), pp. 101–18; quotation, p. 110.
32 T. Bull, A Voice from the Bench (Manchester, 1853), p. 8.
33 D. Greysmith, ‘Patterns, Piracy and Protection in the Textile Printing Industry, 1787–1850’, Textile History, 14, no. 2 (1983), pp. 165–94; quotation, p. 166.
34 Greysmith’s argument is carried further by Lara Kriegel, ‘Culture and the Copy: Calico, Capitalism and Design Copyright in Early Victorian Britain’, Journal of British Studies, 43, no. 2 (2004), pp. 233–65.
35 S. D. Chapman and S. Chassagne, European Textile Printers in the Eighteenth Century: A Study of Pell and Oberkampf (London: Heinemann & Pasold Fund, 1981), p. 204.
36 Greysmith, ‘Patterns, Piracy and Protection’, p. 183.
37 D. Mitchell, ‘“My purple will be too sad for that melancholy room”: Furnishings for Interiors in London and Paris, 1660–1735’, Textile History, 40, no. 1 (2009), pp. 3–28; quotation, p. 25.
38 J. Leclercq and R. Labrusse, ‘Entretien avec Jean-Paul Leclercq par Rémi Labrusse’, Perspective: Actualité en histoire de l’art, 1 (2016), pp. 61–74, https://journals.openedition.org/perspective/6303 (accessed 6 October 2018).
39 R. Worth, ‘“Fashioning” the Clothing Product: Technology and Design at Marks and Spencer’, Textile History, 30, no. 2 (1999), pp. 234–50.
40 D. Brett, The Plain Style: Protestant Theology in the History of Design, 2nd edn (Cambridge: Lutterworth Press, 2004).
41 S. Miller, ‘Europe Looks East: Ceramics and Silk, 1680–1710’, in A Taste for the Exotic: Foreign Influences on Early Eighteenth-Century Silk Designs, ed. A. Jolly (Riggisberg: Abegg Stiftung, 2007), pp. 155–73.
42 Thornton, Form and Decoration.
43 S. Tuckett and S. Nenadic, ‘Colouring the Nation: A New In-Depth Study of the Turkey Red Pattern Books in the National Museums Scotland’, Textile History, 43, no. 2 (2012), pp. 161–82.
44 D. Brett, ‘“The Management of Colour”: The Kashmir Shawl in a Nineteenth-Century Debate’, Textile History, 29, no. 2 (1998), pp. 123–33; quotation, p. 124.
Additional information
Notes on contributors
Philip A. Sykas
Philip Sykas is a Reader in Textile History at Manchester Metropolitan University. His interest in design began with trying to understand the evidence compiled in textile pattern books that survive in isolation from written documentation. This has led to study of the interconnections of textile design with technology and business practice, especially in the area of printed textiles for dress during the long nineteenth century.