The Empowering Implications Spread Beyond European Textile Artists and Affected Curators, Teachers, and Art Administrators in a Much Wider Western Context

Love Embroidery Digitizing

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According to a 2011 report by international consulting firm McKinsey & Company, 80 percent of American and European clothing companies planned to move their outsourcing from China, where wages had risen, and were considering Bangladesh as the "next hot spot" making it the "next China"offering 'the lowest price possible' known as the China Price, the hallmark of China’s incredibly cheap, ubiquitous manufacturers, much "dreaded by competitors."

As Ann Newdigate states in her essay "Kinda art, sorta tapestry: tapestry as shorthand access to the definitions, languages, institutions, attitudes, hierarchies, ideologies, constructions, classifications, histories, prejudices and other bad habits of the West", there was a shift in textiles after The Subversive Stitch was published.

"Then in 1984 when Rozsika Parker's The Subversive Stitch: Embroidery Digitizing and the Making of the Feminine, focusing on textiles, could not be resisted by even the most conservative of Western practitioners; modernism was finally disrupted in the Low Art sphere.

The post-modern influence, even though in only a few instances, started to blend the firmly drawn lines of hierarchical distinctions.

Twenty years after I had taken up art as my vocation, I began to feel the oppositional codes of the separate spheres slowly eroding as I wrote my thesis and investigated the domestication of tapestry from its previous high art status (until about the turn of the century) as a European male practice.

Hull Traders had acquired a reputation for their fabric designs by winning several awards. Shirley Craven, who designed textiles for the company, also selected designs by freelance textile artists and oversaw the process of printing these onto fabric.

Designers who carried out work for the company included Eduardo Paolozzi, Althea McNish and Humphrey Spender.

Hull Traders was initially based in London before moving to a converted mill inTrawden, Lancashire.

All the digitizing designs were screen printed by hand using pigment dyes.

The aim was to produce short runs of avant-garde textiles, sold in Hull Traders' showroom off Oxford Street in London.