Natural fibers have been used for the past 4000 to 5000 years to make cloth, and plant and animal fibers were the only way that clothing and fabrics could be created
up until 1885 when the first synthetic fiber was made.
 Once textiles are found, the fibers are teased out using a light microscope and an SEM is used to look for characteristics in the textile that show what plant it is made
Lee uses fermentation to create a plant-based paper sheet that can be cut and sewn just like cloth- ranging in thickness from thin plastic-like materials up to thick leather-like
 The fibers from the flax are taken from the filaments in the stem of the plant, spun together to create long strands, and then woven into long pieces of linen
that were used from anything from bandages to clothing and tapestries.
The manufacture and production of cotton spread rapidly in the 18th century, and it quickly became one of the most important textile fibers because of its comfort, durability,
Within her project, Lee places a large emphasis on making the clothing look fashionable by using avant-garde style and natural dyes made from fruits because compostable clothing
is not appealing to most shoppers.
The prince’s capotain hat is made of felt using the most basic of textile techniques.
 History of plant use in textile arts Natural fibers have been an important aspect of human society since 7000 B.C., and it is suspected that they were first used
in ornamental cloths since 400 B.C.
 Cotton and flax are two of the most common natural fibers that are used today, but historically natural fibers were made of most parts of the plant, including bark, stem,
leaf, fruit, seed hairs, and sap.
 This distinction between craft and fine art is applied to the textile arts as well, where the term fiber art or textile art is now used to describe textile-based decorative
objects which are not intended for practical use.
All of these items – felt, yarn, fabric, and finished objects – are collectively referred to as textiles.
 The yarn was best used on warping boards or warping reels to create large pieces of cloth that could be dyed and woven into different patterns to create elaborate tapestries
 In addition, there is a possibility to create designs with the plants by tearing or cutting the growing sheet and allowing it to heal to create a pattern made of scars
on the textile.
 Future of plants in textile art While plant use in textile art is still common today, there are new innovations being developed, such as Suzanne Lee’s art installation
 This knowledge helps us to learn where and when the cultivation of plants that are used in textiles first occurred, confirming the previous knowledge that was gained
from studying the era in which different textile arts aligned with from a perspective of design.
 The textile arts also include those techniques which are used to embellish or decorate textiles – dyeing and printing to add color and pattern; embroidery and other types
of needlework; tablet weaving; and lace-making.
 The possibilities to use this textile in art installations is incredible because artists would have the ability to create a living art piece, such as Lee does with her
 The methods and materials used to make them have expanded enormously, while the functions of textiles have remained the same, there are many functions for textiles.
 The simplest textile art is felting, in which animal fibers are matted together using heat and moisture.
Cotton Cotton tapestry that was woven into an intricate pattern in India Cotton was first used in 5000 B.C.
[‘o Gillow & Sentance 1999, pp. 10–11.
o ^ Barber 2008, pp. 42–70.
o ^ Kadolph 2007.
o ^ Jenkins 2003, pp. 1–6.
o ^ For general discussion of textile techniques in this era and their significance, see Arnold 2018 and Arnold 2009, as well as
Hearn 2010, throughout.
o ^ Gombrich, Ernst (2005). “Press statement on The Story of Art”. The Gombrich Archive. Archived from the original on February 14, 2008. Retrieved January 18, 2008.
o ^ Pantelić, Ksenija (December 23, 2016). “Fiber Art
and Its Scope”. Widewalls. Retrieved October 23, 2019.
o ^ Lunin, Lois F. (Spring 1990). “The Descriptive Challenges of Fiber Art”. Library Trends. The Board of Trustees, University of Illinois. 38 (4): 697–8. CiteSeerX 10.1.1.190.6501.
o ^ Jump
up to:a b c d e f kozłowski, R.M.; Mackiewicz-Talarczyk, M. (2012). Handbook of Natural Fibres. pp. 1–8. doi:10.1533/9780857095503.1. ISBN 9781845696979. S2CID 111000384.
o ^ Jump up to:a b c d e f Birrell, Verla Leone (1959). The textile arts,
a handbook of fabric structure and design processes:ancient and modern weaving, braiding, printing, and other textile techniques. Harper’s home economics series. New York: Harper & Brothers, Publishers. hdl:2027/mdp.39015006754272.
o ^ Jump up
to:a b Maier, Ursula; Schlichtherle, Helmut (November 1, 2011). “Flax cultivation and textile production in Neolithic wetland settlements on Lake Constance and in Upper Swabia (south-west Germany)”. Vegetation History and Archaeobotany. 20 (6): 567–578.
doi:10.1007/s00334-011-0300-8. ISSN 0939-6314. S2CID 129757770.
o ^ Jump up to:a b c d Ryder, M. L.; Gabra-Sanders, Thea (1985). “The Application of Microscopy to Textile History”. Textile History. 16 (2): 123–140. doi:10.1179/004049685793701061.
Jump up to:a b c Hemmings, Jessica (2008). “Grown Fashion: Animal, Vegetable or Plastic?”. Textile. 6 (3): 262–273. doi:10.2752/175183508X377627. S2CID 110081228.
o ^ “Artist creates works in denim”. BBC News. May 23, 2018. Retrieved July 9, 2018.
Cripps, Charlotte (March 15, 2010). “Stitches in time: Quilt-making as contemporary art”. The Independent. Retrieved July 9, 2018.
o ^ “Sámi Artist Group (Keviselie/Hans Ragnar Mathisen, Britta Marakatt-Labba, Synnøve Persen)”. Retrieved October
o ^ Freyberg, Annabel (November 1, 2008). “Grayson Perry: spinning a yarn”. The Telegraph. ISSN 0307-1235. Archived from the original on 2022-01-12. Retrieved July 9, 2018.
o ^ Gottesman, Sarah (October 31, 2016). “10 Textile Artists
Who Are Pushing the Medium Forward”. Artsy. Retrieved July 9, 2018.
o ^ Lin, Amy (December 25, 2016). “Famous Fiber Artists to Follow”. Widewalls. Retrieved July 9, 2018.
o ^ Pitcher, Joe (December 9, 2013). “Spotlight on 5 contemporary textile
artists”. TextileArtist.org. Retrieved July 9, 2018.
o ^ Bell, Kirsty (May 18, 2015). “New yarns | Tate”. www.tate.org.uk. Archived from the original on July 9, 2018. Retrieved July 9, 2018.
• Arnold, Janet (2018). Queen Elizabeth’s Wardrobe
Unlock’d. Leeds: W S Maney and Son Ltd. ISBN 978-0-901286-20-8.
• Arnold, Janet (2009). Patterns of Fashion: the cut and construction of clothes for men and women 2000 (Revised edition 2006 ed.). Macmillan. ISBN 978-0-89676-083-7.
• Barber, Elizabeth
Wayland (2008). Women’s Work: The First 20,000 Years. W. W. Norton. ISBN 978-0-393-03506-3.
• Barber, Elizabeth Wayland (1992). Prehistoric Textiles: The Development of Cloth in the Neolithic and Bronze Ages with Special Reference to the Aegean.
Princeton University Press. ISBN 978-0691002248.
• Gillow, John; Sentance, Bryan (1999). World Textiles. New York: Bulfinch Press/Little, Brown. ISBN 0-8212-2621-5.
• Hearn, Karen, ed. (2010). Dynasties: Painting in Tudor and Jacobean England
2000–2007. New York: Rizzoli. ISBN 978-0-8478-1940-9.
• Jenkins, David, ed. (2003). The Cambridge History of Western Textiles. Cambridge, UK: Cambridge University Press. ISBN 0-521-34107-8.
• Kadolph, Sara J., ed. (2007). Textiles (10th ed.).
Pearson/Prentice-Hall. ISBN 978-0-13-118769-6.
Photo credit: https://www.flickr.com/photos/lambsandivydesigns/8523394349/’]