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The Clothing Portal

A garment factory in Bangladesh

Clothing (also known as clothes, garments, dress, apparel, or attire) is any item worn on the body. Typically, clothing is made of fabrics or textiles, but over time it has included garments made from animal skin and other thin sheets of materials and natural products found in the environment, put together. The wearing of clothing is mostly restricted to human beings and is a feature of all human societies. The amount and type of clothing worn depends on gender, body type, social factors, and geographic considerations. Garments cover the body, footwear covers the feet, gloves cover the hands, while hats and headgear cover the head, and underwear covers the private parts.

Clothing has significant social factors as well. Wearing clothes is a variable social norm. It may connote modesty. Being deprived of clothing in front of others may be embarrassing. In many parts of the world, not wearing clothes in public so that genitals, breast, or buttocks are visible could be considered indecent exposure. Pubic area or genital coverage is the most frequently encountered minimum found cross-culturally and regardless of climate, implying social convention as the basis of customs. Clothing also may be used to communicate social status, wealth, group identity, and individualism. (Full article...)

Textile is an umbrella term that includes various fiber-based materials, including fibers, yarns, filaments, threads, different fabric types, etc. At first, the word "textiles" only referred to woven fabrics. However, weaving is not the only manufacturing method, and many other methods were later developed to form textile structures based on their intended use. Knitting and non-woven are other popular types of fabric manufacturing. In the contemporary world, textiles satisfy the material needs for versatile applications, from simple daily clothing to bulletproof jackets, spacesuits, and doctor's gowns. (Full article...)

Textile arts are arts and crafts that use plant, animal, or synthetic fibers to construct practical or decorative objects. (Full article...)

Selected articles - load new batch

  • Image 1 Ainu ceremonial dress on display under glass in the British Museum The conservation and restoration of textiles refers to the processes by which textiles are cared for and maintained to be preserved from future damage. The field falls under the category of art conservation, heritage conservation as well as library preservation, depending on the type of collection. The concept of textile preservation applies to a wide range of artifacts, including tapestries, carpets, quilts, clothing, flags and curtains, as well as objects which "contain" textiles, such as upholstered furniture, dolls, and accessories such as fans, parasols, gloves and hats or bonnets. Many of these artifacts require specialized care, often by a professional conservator. (Full article...)
    Ainu ceremonial dress on display under glass in the British Museum

    The conservation and restoration of textiles refers to the processes by which textiles are cared for and maintained to be preserved from future damage. The field falls under the category of art conservation, heritage conservation as well as library preservation, depending on the type of collection. The concept of textile preservation applies to a wide range of artifacts, including tapestries, carpets, quilts, clothing, flags and curtains, as well as objects which "contain" textiles, such as upholstered furniture, dolls, and accessories such as fans, parasols, gloves and hats or bonnets. Many of these artifacts require specialized care, often by a professional conservator. (Full article...)
  • Image 2 A contemporary Navajo rug Navajo weaving (Navajo: diyogí) are textiles produced by Navajo people, who are based near the Four Corners area of the United States. Navajo textiles are highly regarded and have been sought after as trade items for more than 150 years. Commercial production of handwoven blankets and rugs has been an important element of the Navajo economy. As one art historian wrote, "Classic Navajo serapes at their finest equal the delicacy and sophistication of any pre-mechanical loom-woven textile in the world." Navajo textiles were originally utilitarian weavings, including cloaks, dresses, saddle blankets, and similar items. By the mid-19th century, Navajo wearing blankets were trade items prized by Indigenous peoples of the Great Plains and neighboring tribes. Toward the end of the 19th century, Navajo weavers began to make rugs for non-Native tourists and for export. (Full article...)
    A contemporary Navajo rug

    Navajo weaving (Navajo: diyogí) are textiles produced by Navajo people, who are based near the Four Corners area of the United States. Navajo textiles are highly regarded and have been sought after as trade items for more than 150 years. Commercial production of handwoven blankets and rugs has been an important element of the Navajo economy. As one art historian wrote, "Classic Navajo serapes at their finest equal the delicacy and sophistication of any pre-mechanical loom-woven textile in the world."

    Navajo textiles were originally utilitarian weavings, including cloaks, dresses, saddle blankets, and similar items. By the mid-19th century, Navajo wearing blankets were trade items prized by Indigenous peoples of the Great Plains and neighboring tribes. Toward the end of the 19th century, Navajo weavers began to make rugs for non-Native tourists and for export. (Full article...)
  • Image 3 Le Courtisan suivant le Dernier Édit by Abraham Bosse – a French courtier casting aside lace, ribbons and slashed sleeves in favor of sober dress in accordance with the edict of 1633 Sumptuary laws (from Latin sūmptuāriae lēgēs) are laws that try to regulate consumption. Black's Law Dictionary defines them as "Laws made for the purpose of restraining luxury or extravagance, particularly against inordinate expenditures for apparel, food, furniture, or shoes, etc." Historically, they were intended to regulate and reinforce social hierarchies and morals through restrictions on clothing, food, and luxury expenditures, often depending on a person's social rank. Societies have used sumptuary laws for a variety of purposes. They were used to try to regulate the balance of trade by limiting the market for expensive imported goods. They made it easy to identify social rank and privilege, and as such could be used for social discrimination and to stabilize social hierarchies. They could also be used to prevent, or at least reduce opportunities for political bribery and corruption. (Full article...)
    Le Courtisan suivant le Dernier Édit by Abraham Bosse – a French courtier casting aside lace, ribbons and slashed sleeves in favor of sober dress in accordance with the edict of 1633

    Sumptuary laws (from Latin sūmptuāriae lēgēs) are laws that try to regulate consumption. Black's Law Dictionary defines them as "Laws made for the purpose of restraining luxury or extravagance, particularly against inordinate expenditures for apparel, food, furniture, or shoes, etc." Historically, they were intended to regulate and reinforce social hierarchies and morals through restrictions on clothing, food, and luxury expenditures, often depending on a person's social rank.

    Societies have used sumptuary laws for a variety of purposes. They were used to try to regulate the balance of trade by limiting the market for expensive imported goods. They made it easy to identify social rank and privilege, and as such could be used for social discrimination and to stabilize social hierarchies. They could also be used to prevent, or at least reduce opportunities for political bribery and corruption. (Full article...)
  • Image 4 Commercial machine embroidery in chain stitch on a voile curtain, China, early 21st century Machine embroidery is an embroidery process whereby a sewing machine or embroidery machine is used to create patterns on textiles. It is used commercially in product branding, corporate advertising, and uniform adornment. It is also used in the fashion industry to decorate garments and apparel. Machine embroidery is used by hobbyists and crafters to decorate gifts, clothing, and home decor. Examples include designs on quilts, pillows, and wall hangings. There are multiple types of machine embroidery. Free-motion sewing machine embroidery uses a basic zigzag sewing machine. Designs are done manually. Most commercial embroidery is done with link stitch embroidery. In link stitch embroidery, patterns may be manually or automatically controlled. Link Stitch embroidery is also known as chenille embroidery, and was patented by Pulse Microsystems in 1994. More modern computerized machine embroidery uses an embroidery machine or sewing/embroidery machine that is controlled with a computer that embroiders stored patterns. These machines may have multiple heads and threads. (Full article...)
    Commercial machine embroidery in chain stitch on a voile curtain, China, early 21st century


    Machine embroidery is an embroidery process whereby a sewing machine or embroidery machine is used to create patterns on textiles. It is used commercially in product branding, corporate advertising, and uniform adornment. It is also used in the fashion industry to decorate garments and apparel. Machine embroidery is used by hobbyists and crafters to decorate gifts, clothing, and home decor. Examples include designs on quilts, pillows, and wall hangings.

    There are multiple types of machine embroidery. Free-motion sewing machine embroidery uses a basic zigzag sewing machine. Designs are done manually. Most commercial embroidery is done with link stitch embroidery. In link stitch embroidery, patterns may be manually or automatically controlled. Link Stitch embroidery is also known as chenille embroidery, and was patented by Pulse Microsystems in 1994. More modern computerized machine embroidery uses an embroidery machine or sewing/embroidery machine that is controlled with a computer that embroiders stored patterns. These machines may have multiple heads and threads. (Full article...)
  • Image 5 Lady Jane Allgood displays her embroidery of an anemone and tulips worked in long-and-short stitch, part of a set of 18th century chair covers and screens which survive at Nunwick Hall, although now much faded. English embroidery includes embroidery worked in England or by English people abroad from Anglo-Saxon times to the present day. The oldest surviving English embroideries include items from the early 10th century preserved in Durham Cathedral and the 11th century Bayeux Tapestry, if it was worked in England. The professional workshops of Medieval England created rich embroidery in metal thread and silk for ecclesiastical and secular uses. This style was called Opus Anglicanum or "English work", and was famous throughout Europe. With the Protestant Reformation of the 16th century, the focus of English embroidery increasingly turned to clothing and household furnishings, leading to another great flowering of English domestic embroidery in the Elizabethan and Jacobean eras. The end of this period saw the rise of the formal sampler as a record of the amateur stitcher's skills. Curious fashions of the mid-17th century were raised work or stumpwork, a pictorial style featuring detached and padded elements, and crewel work, featuring exotic leaf motifs worked in wool yarn. (Full article...)
    Lady Jane Allgood displays her embroidery of an anemone and tulips worked in long-and-short stitch, part of a set of 18th century chair covers and screens which survive at Nunwick Hall, although now much faded.


    English embroidery includes embroidery worked in England or by English people abroad from Anglo-Saxon times to the present day. The oldest surviving English embroideries include items from the early 10th century preserved in Durham Cathedral and the 11th century Bayeux Tapestry, if it was worked in England. The professional workshops of Medieval England created rich embroidery in metal thread and silk for ecclesiastical and secular uses. This style was called Opus Anglicanum or "English work", and was famous throughout Europe.

    With the Protestant Reformation of the 16th century, the focus of English embroidery increasingly turned to clothing and household furnishings, leading to another great flowering of English domestic embroidery in the Elizabethan and Jacobean eras. The end of this period saw the rise of the formal sampler as a record of the amateur stitcher's skills. Curious fashions of the mid-17th century were raised work or stumpwork, a pictorial style featuring detached and padded elements, and crewel work, featuring exotic leaf motifs worked in wool yarn. (Full article...)
  • Image 6 A Palestinian Arab woman from Ramallah, photographed by the American Colony Photo Department, c. 1929–1946 Palestinian traditional clothing are the types of clothing historically and sometimes still presently worn by Palestinians. Foreign travelers to Palestine in the 19th and early 20th centuries often commented on the rich variety of the costumes worn, particularly by the fellaheen or village women. Many of the handcrafted garments were richly embroidered and the creation and maintenance of these items played a significant role in the lives of the region's women. Though experts in the field trace the origins of Palestinian costumes to ancient times, there are no surviving clothing artifacts from this early period against which the modern items might be definitively compared. Influences from the various empires to have ruled Palestine, such as Ancient Egypt, Ancient Rome and the Byzantine empire, among others, have been documented by scholars largely based on the depictions in art and descriptions in literature of costumes produced during these times. (Full article...)
    A woman from Ramallah
    A Palestinian Arab woman from Ramallah, photographed by the American Colony Photo Department, c. 1929–1946

    Palestinian traditional clothing are the types of clothing historically and sometimes still presently worn by Palestinians. Foreign travelers to Palestine in the 19th and early 20th centuries often commented on the rich variety of the costumes worn, particularly by the fellaheen or village women. Many of the handcrafted garments were richly embroidered and the creation and maintenance of these items played a significant role in the lives of the region's women.

    Though experts in the field trace the origins of Palestinian costumes to ancient times, there are no surviving clothing artifacts from this early period against which the modern items might be definitively compared. Influences from the various empires to have ruled Palestine, such as Ancient Egypt, Ancient Rome and the Byzantine empire, among others, have been documented by scholars largely based on the depictions in art and descriptions in literature of costumes produced during these times. (Full article...)
  • Image 7 Drawing of a baldachin over a throne, placed on a dais A baldachin, or baldaquin (from Italian: baldacchino), is a canopy of state typically placed over an altar or throne. It had its beginnings as a cloth canopy, but in other cases it is a sturdy, permanent architectural feature, particularly over high altars in cathedrals, where such a structure is more correctly called a ciborium when it is sufficiently architectural in form. Baldachins are often supported on columns, especially when they are disconnected from an enclosing wall. A cloth of honour or cloth of estate is a simpler cloth hanging vertically behind the throne, usually continuing to form a canopy. It can also be used for similar canopies in interior design, for example above beds, and for processional canopies used in formal state ceremonies such as coronations, held up by four or more men with poles attached to the corners of the cloth. (Full article...)
    Drawing of a baldachin over a throne, placed on a dais

    A baldachin, or baldaquin (from Italian: baldacchino), is a canopy of state typically placed over an altar or throne. It had its beginnings as a cloth canopy, but in other cases it is a sturdy, permanent architectural feature, particularly over high altars in cathedrals, where such a structure is more correctly called a ciborium when it is sufficiently architectural in form. Baldachins are often supported on columns, especially when they are disconnected from an enclosing wall.

    A cloth of honour or cloth of estate is a simpler cloth hanging vertically behind the throne, usually continuing to form a canopy. It can also be used for similar canopies in interior design, for example above beds, and for processional canopies used in formal state ceremonies such as coronations, held up by four or more men with poles attached to the corners of the cloth. (Full article...)
  • Image 8 Perkin in 1906 Sir William Henry Perkin FRS (12 March 1838 – 14 July 1907) was a British chemist and entrepreneur best known for his serendipitous discovery of the first commercial synthetic organic dye, mauveine, made from aniline. Though he failed in trying to synthesise quinine for the treatment of malaria, he became successful in the field of dyes after his first discovery at the age of 18. Perkin set up a factory to produce the dye industrially. Lee Blaszczyk, professor of business history at the University of Leeds, states, "By laying the foundation for the synthetic organic chemicals industry, Perkin helped to revolutionize the world of fashion." (Full article...)

    Perkin in 1906

    Sir William Henry Perkin FRS (12 March 1838 – 14 July 1907) was a British chemist and entrepreneur best known for his serendipitous discovery of the first commercial synthetic organic dye, mauveine, made from aniline. Though he failed in trying to synthesise quinine for the treatment of malaria, he became successful in the field of dyes after his first discovery at the age of 18.

    Perkin set up a factory to produce the dye industrially. Lee Blaszczyk, professor of business history at the University of Leeds, states, "By laying the foundation for the synthetic organic chemicals industry, Perkin helped to revolutionize the world of fashion." (Full article...)
  • Image 9 Court Ladies Preparing Newly Woven Silk, a Chinese silk painting sucby Emperor Huizong of Song, early 12th century. The production of silk originated in Neolithic China within the Yangshao culture (4th millennium BCE). Though it would later reach other places in the world, the art of silk production remained confined to China until the Silk Road opened at 114 BC. Even after trade opened, China maintained a virtual monopoly over silk production for another thousand years. The use of silk within China was not confined to clothing alone, and silk was used for a number of applications, such as writing. Within clothing, the color of silk worn also held social importance, and formed an important guide of social class during the Tang dynasty of China. Silk cultivation had reached Japan by 300 AD, and by 552 AD the Byzantine Empire managed to obtain silkworm eggs and were able to begin silkworm cultivation while the Arabs also started to manufacture silk at around the same time. As a result of the spread of sericulture, Chinese silk exports became less important, although they still maintained dominance over the luxury silk market. The Crusades brought silk production to Western Europe, in particular to many Italian states, which saw an economic boom exporting silk to the rest of Europe. Developments in the manufacturing technique also started to take place during the Middle Ages (5th to 15th centuries) in Europe, with devices such as the spinning wheel first appearing at this time. During the 16th century, France joined Italy in developing a successful silk trade, although the efforts of most other nations to develop a silk industry of their own were unsuccessful. (Full article...)
    A group of women wearing high-waisted skirts, wrap-front tops and large hair buns use wooden rods to prepare a length of white silk.
    Court Ladies Preparing Newly Woven Silk, a Chinese silk painting sucby Emperor Huizong of Song, early 12th century.

    The production of silk originated in Neolithic China within the Yangshao culture (4th millennium BCE). Though it would later reach other places in the world, the art of silk production remained confined to China until the Silk Road opened at 114 BC. Even after trade opened, China maintained a virtual monopoly over silk production for another thousand years. The use of silk within China was not confined to clothing alone, and silk was used for a number of applications, such as writing. Within clothing, the color of silk worn also held social importance, and formed an important guide of social class during the Tang dynasty of China.

    Silk cultivation had reached Japan by 300 AD, and by 552 AD the Byzantine Empire managed to obtain silkworm eggs and were able to begin silkworm cultivation while the Arabs also started to manufacture silk at around the same time. As a result of the spread of sericulture, Chinese silk exports became less important, although they still maintained dominance over the luxury silk market. The Crusades brought silk production to Western Europe, in particular to many Italian states, which saw an economic boom exporting silk to the rest of Europe. Developments in the manufacturing technique also started to take place during the Middle Ages (5th to 15th centuries) in Europe, with devices such as the spinning wheel first appearing at this time. During the 16th century, France joined Italy in developing a successful silk trade, although the efforts of most other nations to develop a silk industry of their own were unsuccessful. (Full article...)
  • Image 10 Cotton corduroy Corduroy is a textile with a distinctively raised "cord" or wale texture. Modern corduroy is most commonly composed of tufted cords, sometimes exhibiting a channel (bare to the base fabric) between them. Both velvet and corduroy derive from fustian fabric. Corduroy looks as if it is made from multiple cords laid parallel to each other. (Full article...)
    Cotton corduroy

    Corduroy is a textile with a distinctively raised "cord" or wale texture. Modern corduroy is most commonly composed of tufted cords, sometimes exhibiting a channel (bare to the base fabric) between them. Both velvet and corduroy derive from fustian fabric. Corduroy looks as if it is made from multiple cords laid parallel to each other. (Full article...)
  • Image 11 A hemp field in Côtes-d'Armor, Brittany, France, which is Europe's largest hemp producer as of 2022 Hemp, or industrial hemp, is a plant in the botanical class of Cannabis sativa cultivars grown specifically for industrial and consumable use. It can be used to make a wide range of products. Along with bamboo, hemp is among the fastest growing plants on Earth. It was also one of the first plants to be spun into usable fiber 50,000 years ago. It can be refined into a variety of commercial items, including paper, rope, textiles, clothing, biodegradable plastics, paint, insulation, biofuel, food, and animal feed. Although chemotype I cannabis and hemp (types II, III, IV, V) are both Cannabis sativa and contain the psychoactive component tetrahydrocannabinol (THC), they represent distinct cultivar groups, typically with unique phytochemical compositions and uses. Hemp typically has lower concentrations of total THC and may have higher concentrations of cannabidiol (CBD), which potentially mitigates the psychoactive effects of THC. The legality of hemp varies widely among countries. Some governments regulate the concentration of THC and permit only hemp that is bred with an especially low THC content into commercial production. (Full article...)
    A hemp field in Côtes-d'Armor, Brittany, France, which is Europe's largest hemp producer as of 2022

    Hemp, or industrial hemp, is a plant in the botanical class of Cannabis sativa cultivars grown specifically for industrial and consumable use. It can be used to make a wide range of products. Along with bamboo, hemp is among the fastest growing plants on Earth. It was also one of the first plants to be spun into usable fiber 50,000 years ago. It can be refined into a variety of commercial items, including paper, rope, textiles, clothing, biodegradable plastics, paint, insulation, biofuel, food, and animal feed.

    Although chemotype I cannabis and hemp (types II, III, IV, V) are both Cannabis sativa and contain the psychoactive component tetrahydrocannabinol (THC), they represent distinct cultivar groups, typically with unique phytochemical compositions and uses. Hemp typically has lower concentrations of total THC and may have higher concentrations of cannabidiol (CBD), which potentially mitigates the psychoactive effects of THC. The legality of hemp varies widely among countries. Some governments regulate the concentration of THC and permit only hemp that is bred with an especially low THC content into commercial production. (Full article...)
  • Image 12 1950s huipil Huipil [ˈwipil] (Nahuatl: huīpīlli [wiːˈpiːlːi]; Ch'orti': b’ujk; Chuj: nip) is the most common traditional garment worn by indigenous women from central Mexico to Central America. It is a loose-fitting tunic, generally made from two or three rectangular pieces of fabric, which are then joined with stitching, ribbons, or fabric strips, with an opening for the head and, if the sides are sewn, openings for the arms. Traditional huipils, especially ceremonial ones, are usually made with fabric woven on a backstrap loom and are decorated with designs woven into the fabric, embroidery, ribbons, lace, and more. However, some huipils are also made from commercial fabric. (Full article...)
    1950s huipil


    Huipil [ˈwipil] (Nahuatl: huīpīlli [wiːˈpiːlːi]; Ch'orti': b’ujk; Chuj: nip) is the most common traditional garment worn by indigenous women from central Mexico to Central America.

    It is a loose-fitting tunic, generally made from two or three rectangular pieces of fabric, which are then joined with stitching, ribbons, or fabric strips, with an opening for the head and, if the sides are sewn, openings for the arms. Traditional huipils, especially ceremonial ones, are usually made with fabric woven on a backstrap loom and are decorated with designs woven into the fabric, embroidery, ribbons, lace, and more. However, some huipils are also made from commercial fabric. (Full article...)
  • Image 13 Rug in progress in Teotitlan del Valle, Oaxaca The textiles of Mexico have a long history. The making of fibers, cloth and other textile goods has existed in the country since at least 1400 BCE. Fibers used during the pre-Hispanic period included those from the yucca, palm and maguey plants as well as the use of cotton in the hot lowlands of the south. After the Spanish conquest of the Aztec Empire, the Spanish introduced new fibers such as silk and wool as well as the European foot treadle loom. Clothing styles also changed radically. Fabric was produced exclusively in workshops or in the home until the era of Porfirio Díaz (1880s to 1910), when the mechanization of weaving was introduced, mostly by the French. Today, fabric, clothes and other textiles are both made by craftsmen and in factories. Handcrafted goods include pre-Hispanic clothing such as huipils and sarapes, which are often embroidered. Clothing, rugs and more are made with natural and naturally dyed fibers. Most handcrafts are produced by indigenous people, whose communities are concentrated in the center and south of the country in states such as Mexico State, Oaxaca and Chiapas. The textile industry remains important to the economy of Mexico although it has suffered a setback due to competition by cheaper goods produced in countries such as China, India and Vietnam. (Full article...)
    Rug in progress in Teotitlan del Valle, Oaxaca

    The textiles of Mexico have a long history. The making of fibers, cloth and other textile goods has existed in the country since at least 1400 BCE. Fibers used during the pre-Hispanic period included those from the yucca, palm and maguey plants as well as the use of cotton in the hot lowlands of the south. After the Spanish conquest of the Aztec Empire, the Spanish introduced new fibers such as silk and wool as well as the European foot treadle loom. Clothing styles also changed radically. Fabric was produced exclusively in workshops or in the home until the era of Porfirio Díaz (1880s to 1910), when the mechanization of weaving was introduced, mostly by the French.
    Today, fabric, clothes and other textiles are both made by craftsmen and in factories. Handcrafted goods include pre-Hispanic clothing such as huipils and sarapes, which are often embroidered. Clothing, rugs and more are made with natural and naturally dyed fibers. Most handcrafts are produced by indigenous people, whose communities are concentrated in the center and south of the country in states such as Mexico State, Oaxaca and Chiapas. The textile industry remains important to the economy of Mexico although it has suffered a setback due to competition by cheaper goods produced in countries such as China, India and Vietnam. (Full article...)
  • Image 14 Utility pole warmer on New York City street corner. Knitta Please, also known as simply Knitta, is the group of artists who began the "knit graffiti" movement in Houston, Texas in 2005. They are known for wrapping public architecture—e.g. lampposts, parking meters, telephone poles, and signage—with knitted or crocheted material, a process known as "knit graffiti", "yarn storming" or "yarnbombing". The mission is to make street art "a little more warm and fuzzy." Knitta grew to eleven members by the end of 2007, but eventually dwindled down to its founder, Magda Sayeg, who continues to travel and knit graffiti. Internationally, as many as a dozen groups have followed Knitta's lead. Sayeg and the group have shown their art across the United States and around the world. (Full article...)
    Utility pole warmer on New York City street corner.


    Knitta Please, also known as simply Knitta, is the group of artists who began the "knit graffiti" movement in Houston, Texas in 2005. They are known for wrapping public architecture—e.g. lampposts, parking meters, telephone poles, and signage—with knitted or crocheted material, a process known as "knit graffiti", "yarn storming" or "yarnbombing".
    The mission is to make street art "a little more warm and fuzzy."

    Knitta grew to eleven members by the end of 2007, but eventually dwindled down to its founder, Magda Sayeg, who continues to travel and knit graffiti. Internationally, as many as a dozen groups have followed Knitta's lead. Sayeg and the group have shown their art across the United States and around the world. (Full article...)
  • Image 15 Posthumous depiction of Ross, from 1893 Elizabeth Griscom Ross (née Griscom; January 1, 1752 – January 30, 1836), also known by her second and third married names, Ashburn and Claypoole, was an American upholsterer who was credited by her relatives in 1870 with making the second official U.S. flag, accordingly known as the Betsy Ross flag. Though most historians dismiss the story, Ross family tradition holds that General George Washington, commander-in-chief of the Continental Army and two members of a congressional committee—Robert Morris and George Ross—visited Mrs. Ross in 1776. Mrs. Ross convinced George Washington to change the shape of the stars in a sketch of a flag he showed her from six-pointed to five-pointed by demonstrating that it was easier and speedier to cut the latter. However, there is no archival evidence or other recorded verbal tradition to substantiate this story of the first U.S. flag. It appears that the story first surfaced in the writings of her grandson in the 1870s (a century after the fact), with no mention or documentation in earlier decades. Ross made flags for the Pennsylvania Navy during the American Revolution. After the Revolution, she made U.S. flags for over 50 years, including 50 garrison flags for the U.S. Arsenal on the Schuylkill River during 1811. The flags of the Pennsylvania navy were overseen by the Pennsylvania Navy Board. The board reported to the Pennsylvania Provincial Assembly's Committee of Safety. In July 1775, the President of the Committee of Safety was Benjamin Franklin. Its members included Robert Morris and George Ross. At that time, the committee ordered the construction of gunboats that would eventually need flags as part of their equipment. As late as October 1776, Captain William Richards was still writing to the Committee of Safety to request the design that he could use to order flags for the fleet. (Full article...)

    Posthumous depiction of Ross, from 1893

    Elizabeth Griscom Ross (née Griscom; January 1, 1752 – January 30, 1836), also known by her second and third married names, Ashburn and Claypoole, was an American upholsterer who was credited by her relatives in 1870 with making the second official U.S. flag, accordingly known as the Betsy Ross flag. Though most historians dismiss the story, Ross family tradition holds that General George Washington, commander-in-chief of the Continental Army and two members of a congressional committee—Robert Morris and George Ross—visited Mrs. Ross in 1776. Mrs. Ross convinced George Washington to change the shape of the stars in a sketch of a flag he showed her from six-pointed to five-pointed by demonstrating that it was easier and speedier to cut the latter. However, there is no archival evidence or other recorded verbal tradition to substantiate this story of the first U.S. flag. It appears that the story first surfaced in the writings of her grandson in the 1870s (a century after the fact), with no mention or documentation in earlier decades.

    Ross made flags for the Pennsylvania Navy during the American Revolution. After the Revolution, she made U.S. flags for over 50 years, including 50 garrison flags for the U.S. Arsenal on the Schuylkill River during 1811. The flags of the Pennsylvania navy were overseen by the Pennsylvania Navy Board. The board reported to the Pennsylvania Provincial Assembly's Committee of Safety. In July 1775, the President of the Committee of Safety was Benjamin Franklin. Its members included Robert Morris and George Ross. At that time, the committee ordered the construction of gunboats that would eventually need flags as part of their equipment. As late as October 1776, Captain William Richards was still writing to the Committee of Safety to request the design that he could use to order flags for the fleet. (Full article...)
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  • ... that according to Brandy Hellville, executives at Brandy Melville have bought the clothes off of employees' backs?
  • ... that after being criticized for dressing "like a doll" at an important meeting, pioneering Russian feminist Anna Filosofova replied that "clothes do not make the woman"?
  • ... that during the Second World War, the British government's campaign Make-Do and Mend encouraged the public to fashion men's clothes into womenswear?
  • ... that Liberian paramount chief Tamba Taylor worked as a tailor and claimed to have sewn clothes for Ethiopian emperor Haile Selassie and Ghanaian president Kwame Nkrumah?

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Queen Nefertari in a sheer, pleated linen garment, Egypt, c. 1298-1235 BC
Queen Nefertari in a sheer, pleated linen garment, Egypt, c. 1298-1235 BC
Credit: Maler der Grabkammer der Nefertari

The history of clothing and textiles attempts an objective survey of clothing and textiles throughout human history, identifying materials, tools, techniques, and influences, and the cultural significance of these items to the people who used them. Textiles, defined as felt or spun fibers made into yarn and subsequently netted, looped, knit or woven to make fabrics, appeared in the Middle East during the late Stone Age. From ancient times to the present day, methods of textile production have continually evolved, and the choices of textiles available have influenced how people carried their possessions, clothed themselves, and decorated their surroundings.

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The following are images from various clothing-related articles on Wikipedia.

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Sir Walter Scott
O what a tangled web we weave
When first we practice to deceive.

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Good articles

  • 17.17-37-1969-Kaukasisk-broderi
    17.17-37-1969-Kaukasisk-broderi
  • 17th century Central Tibeten thanka of Guhyasamaja Akshobhyavajra, Rubin Museum of Art
    17th century Central Tibeten thanka of Guhyasamaja Akshobhyavajra, Rubin Museum of Art
  • Eugène Grasset - A La Place Clichy
    Eugène Grasset - A La Place Clichy
  • Khalili Collections A Composite Imaginary View of Japan
    Khalili Collections A Composite Imaginary View of Japan


Subcategories

Category puzzle
Category puzzle
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Clothing
Clothing by century
Clothing by country
Clothing by culture
Clothing by decade
Clothing by ethnicity
Clothing by function
Clothing by material
Clothing by type
Clothing by year
Clothing-related lists
Clothing containers
Clothing in politics
Clothing industry
Clothing-related organizations
Color of clothing
Clothing controversies
Costumes
Dress codes
Clothing and the environment
Fashion accessories
Fashion museums
Gender and clothing
History of clothing
Images of clothing
Individual garments
Laundry
Minimalist clothing
Modesty
Mythological clothing
Nudity
Parts of clothing
Sewing
Sizes in clothing
Songs about clothing
Tailors
Clothing stubs
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Textile arts
Textile arts by country
Textile arts by region
Textile artists
Beadwork
Buttons
Textile arts exhibitions
Glossaries of textile arts
Indigenous textiles
Lace
Needlework
Quilting
Rag dolls
Ropework
Rugs and carpets
Sewing
Spinning
Tapestries
Textile arts organizations
Textile design
Textile printing
Thangkas
Wearable art
Weaving
Yarn
Textile arts stubs

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