Portal:Clothing

The Clothing Portal

A garment factory in Bangladesh

Clothing (also known as clothes, garments, dress, apparel, or attire) is any item worn on a human 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 intimate 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, and different types of fabric. 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 -

  • Image 1 Smocking on the collar of a sixteenth-century garment Smocking is an embroidery technique used to gather fabric so that it can stretch. Before elastic, smocking was commonly used in cuffs, bodices, and necklines in garments where buttons were undesirable. Smocking developed in England and has been practised since the Middle Ages and is unusual among embroidery methods in that it was often worn by labourers. Other major embroidery styles are purely decorative and represented status symbols. Smocking was practical for garments to be both form fitting and flexible, hence its name derives from smock — an agricultural labourer's work shirt. Smocking was used most extensively in the eighteenth and nineteenth centuries. (Full article...)
    Smocking on the collar of a sixteenth-century garment


    Smocking is an embroidery technique used to gather fabric so that it can stretch. Before elastic, smocking was commonly used in cuffs, bodices, and necklines in garments where buttons were undesirable. Smocking developed in England and has been practised since the Middle Ages and is unusual among embroidery methods in that it was often worn by labourers. Other major embroidery styles are purely decorative and represented status symbols. Smocking was practical for garments to be both form fitting and flexible, hence its name derives from smock — an agricultural labourer's work shirt. Smocking was used most extensively in the eighteenth and nineteenth centuries. (Full article...)
  • Image 2 Catholic clergymen wearing pleated rochets A pleat (plait in older English) is a type of fold formed by doubling fabric back upon itself and securing it in place. It is commonly used in clothing and upholstery to gather a wide piece of fabric to a narrower circumference. Pleats are categorized as pressed, that is, ironed or otherwise heat-set into a sharp crease, or unpressed, falling in soft rounded folds. Pleats sewn into place are called tucks. (Full article...)
    Catholic clergymen wearing pleated rochets


    A pleat (plait in older English) is a type of fold formed by doubling fabric back upon itself and securing it in place. It is commonly used in clothing and upholstery to gather a wide piece of fabric to a narrower circumference.

    Pleats are categorized as pressed, that is, ironed or otherwise heat-set into a sharp crease, or unpressed, falling in soft rounded folds. Pleats sewn into place are called tucks. (Full article...)
  • Image 3 Skirt (AM 1944.51-1) Mamianqun ornamented with Chinese goldwork and embroideries, a traditional skirt of the Han Chinese, Qing dynasty Goldwork is the art of embroidery using metal threads. It is particularly prized for the way light plays on it. The term "goldwork" is used even when the threads are imitation gold, silver, or copper. The metal wires used to make the threads have never been entirely gold; they have always been gold-coated silver or cheaper metals, and even then the "gold" often contains a very low percentage of real gold. Most metal threads are available in silver and sometimes copper as well as gold; some are available in colors as well. Goldwork is always surface embroidery and free embroidery. The vast majority is a form of laid work or couching; that is, the gold threads are held onto the surface of the fabric by a second thread, usually of fine silk. The ends of the thread, depending on type, are simply cut off, or are pulled through to the back of the embroidery and carefully secured with the couching thread. A tool called a mellore or a stiletto is used to help position the threads and create the holes needed to pull them through. The threads most often have metal or gold leaf wound around a textile core, or are treated with an adhesive and rolled in powdered gold or other metal. (Full article...)

    Skirt (AM 1944.51-1)
    Skirt (AM 1944.51-1)
    Mamianqun ornamented with Chinese goldwork and embroideries, a traditional skirt of the Han Chinese, Qing dynasty

    Goldwork is the art of embroidery using metal threads. It is particularly prized for the way light plays on it. The term "goldwork" is used even when the threads are imitation gold, silver, or copper. The metal wires used to make the threads have never been entirely gold; they have always been gold-coated silver or cheaper metals, and even then the "gold" often contains a very low percentage of real gold. Most metal threads are available in silver and sometimes copper as well as gold; some are available in colors as well.

    Goldwork is always surface embroidery and free embroidery. The vast majority is a form of laid work or couching; that is, the gold threads are held onto the surface of the fabric by a second thread, usually of fine silk. The ends of the thread, depending on type, are simply cut off, or are pulled through to the back of the embroidery and carefully secured with the couching thread. A tool called a mellore or a stiletto is used to help position the threads and create the holes needed to pull them through. The threads most often have metal or gold leaf wound around a textile core, or are treated with an adhesive and rolled in powdered gold or other metal. (Full article...)
  • Image 4 Utility pole warmer on New York City street corner. Knitta, also known as Knitta Please, was a group of artists based in Houston, Texas often attributed with the creation of the yarn bombing movement, a type of grafitti where participants wrap public architecture—e.g. lampposts, parking meters, telephone poles, and signage—with knitted or crocheted material. Founded in 2005 by Magda Sayeg and Akrylik, the group held yarn bombings in several cities and continents, and were invited to stage installations Knitta grew to eleven members by the end of 2007, and over the next several years held installations in several countries and on multiple continents. However, by the 2010s, membership had dwindled to just Sayeg. (Full article...)
    Utility pole warmer on New York City street corner.


    Knitta, also known as Knitta Please, was a group of artists based in Houston, Texas often attributed with the creation of the yarn bombing movement, a type of grafitti where participants wrap public architecture—e.g. lampposts, parking meters, telephone poles, and signage—with knitted or crocheted material. Founded in 2005 by Magda Sayeg and Akrylik, the group held yarn bombings in several cities and continents, and were invited to stage installations

    Knitta grew to eleven members by the end of 2007, and over the next several years held installations in several countries and on multiple continents. However, by the 2010s, membership had dwindled to just Sayeg. (Full article...)
  • Image 5 A modern industrial knitting machine in action A knitting machine is a device used to create knitted fabrics in a semi or fully automated fashion. There are numerous types of knitting machines, ranging from simple spool or board templates with no moving parts to highly complex mechanisms controlled by electronics. All, however, produce various types of knitted fabrics, usually either flat or tubular, and of varying degrees of complexity. Pattern stitches can be selected by hand manipulation of the needles, push-buttons and dials, mechanical punch cards, or electronic pattern reading devices and computers. (Full article...)
    A modern industrial knitting machine in action

    A knitting machine is a device used to create knitted fabrics in a semi or fully automated fashion. There are numerous types of knitting machines, ranging from simple spool or board templates with no moving parts to highly complex mechanisms controlled by electronics. All, however, produce various types of knitted fabrics, usually either flat or tubular, and of varying degrees of complexity. Pattern stitches can be selected by hand manipulation of the needles, push-buttons and dials, mechanical punch cards, or electronic pattern reading devices and computers. (Full article...)
  • Image 6 Cloak, 1580–1600 V&A Museum no. 793–1901 Techniques – Red satin, couched and embroidered with silver, silver-gilt and coloured silk threads, trimmed with silver-gilt and silk thread fringe and tassel, and lined with pink linen Aesthetics in textiles is one of the basic concepts of serviceability of textiles. It is determined by the perception of touch and sight. Aesthetics imply the appearance and attraction of textile products; it includes the color and texture of the material. It is a statement about the end user (consumer) and the target market. When combined with fabric construction, the finish of the clothing material, garment fit, style, and fashion compatibility, colours create an aesthetic comfort. All of these elements work together to satisfy our visual perception. Aesthetics incorporates the role of evaluation (analysing and judging) also. There are various arts and applications that imparts aesthetic properties in textiles. Additionally, the use of LEDs and optical fibres enables the creation of aesthetic properties such as illuminated textiles. (Full article...)
    Cloak, 1580–1600 V&A Museum no. 793–1901 Techniques – Red satin, couched and embroidered with silver, silver-gilt and coloured silk threads, trimmed with silver-gilt and silk thread fringe and tassel, and lined with pink linen

    Aesthetics in textiles is one of the basic concepts of serviceability of textiles. It is determined by the perception of touch and sight. Aesthetics imply the appearance and attraction of textile products; it includes the color and texture of the material. It is a statement about the end user (consumer) and the target market. When combined with fabric construction, the finish of the clothing material, garment fit, style, and fashion compatibility, colours create an aesthetic comfort. All of these elements work together to satisfy our visual perception. Aesthetics incorporates the role of evaluation (analysing and judging) also.

    There are various arts and applications that imparts aesthetic properties in textiles. Additionally, the use of LEDs and optical fibres enables the creation of aesthetic properties such as illuminated textiles. (Full article...)
  • Image 7 Reconstruction of a Saxon sprang hairnet Sprang is an ancient method of constructing fabric that has a natural elasticity. Its appearance is similar to netting, but unlike netting, sprang is constructed entirely from warp threads. Archaeological evidence indicates that sprang predates knitting; the two needlework forms bear a visible resemblance and serve similar functions but require different production techniques. Although examples of sprang have been unearthed from as early as the Bronze Age, sprang was almost entirely undocumented in written records until the late nineteenth century when archaeological finds generated interest in Europe. Museum examples of sprang had been misidentified as knitting or lace until discoveries of ancient examples prompted reexamination of newer pieces. Subsequently, sprang has been identified in a variety of cultures and traditions across several continents. Its practice as a folk art waned during the twentieth century and sprang traditions have disappeared in most locales. Knitting has largely supplanted sprang. (Full article...)
    Reconstruction of a Saxon sprang hairnet

    Sprang is an ancient method of constructing fabric that has a natural elasticity. Its appearance is similar to netting, but unlike netting, sprang is constructed entirely from warp threads. Archaeological evidence indicates that sprang predates knitting; the two needlework forms bear a visible resemblance and serve similar functions but require different production techniques.

    Although examples of sprang have been unearthed from as early as the Bronze Age, sprang was almost entirely undocumented in written records until the late nineteenth century when archaeological finds generated interest in Europe. Museum examples of sprang had been misidentified as knitting or lace until discoveries of ancient examples prompted reexamination of newer pieces. Subsequently, sprang has been identified in a variety of cultures and traditions across several continents. Its practice as a folk art waned during the twentieth century and sprang traditions have disappeared in most locales. Knitting has largely supplanted sprang. (Full article...)
  • Image 8 William Morris by Frederick Hollyer, 1887 William Morris (24 March 1834 – 3 October 1896) was an English textile designer, poet, artist, writer, and socialist activist associated with the British Arts and Crafts movement. He was a major contributor to the revival of traditional British textile arts and methods of production. His literary contributions helped to establish the modern fantasy genre, while he campaigned for socialism in fin de siècle Great Britain. Morris was born in Walthamstow, Essex, to a wealthy middle-class family. He came under the strong influence of medievalism while studying classics at Oxford University, where he joined the Birmingham Set. After university, he married Jane Burden, and developed close friendships with Pre-Raphaelite artists and poets such as Dante Gabriel Rossetti, Algernon Charles Swinburne, and Edward Burne-Jones, as well as with Neo-Gothic architect Philip Webb. Webb and Morris designed Red House in Kent where Morris lived from 1859 to 1865, before moving to Bloomsbury, central London. In 1861, Morris founded the Morris, Marshall, Faulkner & Co. decorative arts firm with Burne-Jones, Rossetti, Webb, and others, which became highly fashionable and much in demand. The firm profoundly influenced interior decoration throughout the Victorian period, with Morris designing tapestries, wallpaper, fabrics, furniture, and stained glass windows. In 1875, he assumed total control of the company, which was renamed Morris & Co. (Full article...)

    William Morris by Frederick Hollyer, 1887

    William Morris (24 March 1834 – 3 October 1896) was an English textile designer, poet, artist, writer, and socialist activist associated with the British Arts and Crafts movement. He was a major contributor to the revival of traditional British textile arts and methods of production. His literary contributions helped to establish the modern fantasy genre, while he campaigned for socialism in fin de siècle Great Britain.

    Morris was born in Walthamstow, Essex, to a wealthy middle-class family. He came under the strong influence of medievalism while studying classics at Oxford University, where he joined the Birmingham Set. After university, he married Jane Burden, and developed close friendships with Pre-Raphaelite artists and poets such as Dante Gabriel Rossetti, Algernon Charles Swinburne, and Edward Burne-Jones, as well as with Neo-Gothic architect Philip Webb. Webb and Morris designed Red House in Kent where Morris lived from 1859 to 1865, before moving to Bloomsbury, central London. In 1861, Morris founded the Morris, Marshall, Faulkner & Co. decorative arts firm with Burne-Jones, Rossetti, Webb, and others, which became highly fashionable and much in demand. The firm profoundly influenced interior decoration throughout the Victorian period, with Morris designing tapestries, wallpaper, fabrics, furniture, and stained glass windows. In 1875, he assumed total control of the company, which was renamed Morris & Co. (Full article...)
  • Image 9 Former woollen weavers' cottages in Wardle, Greater Manchester, England. A weavers' cottage was (and to an extent still is) a type of house used by weavers for cloth production in the putting-out system sometimes known as the domestic system. Weavers' cottages were common in Great Britain, often with dwelling quarters on the lower floors and loom-shop on the top floor. Cellar loomshops on the ground floor or in the basement were found where cotton was woven, as they provided high humidity. A loom-shop can be often recognised by a long row of windows which provided maximum light for the weaver. (Full article...)
    three storey stone-built, end-of-terrace cottage with six windows on the floor under the roof
    Former woollen weavers' cottages in Wardle, Greater Manchester, England.

    A weavers' cottage was (and to an extent still is) a type of house used by weavers for cloth production in the putting-out system sometimes known as the domestic system.

    Weavers' cottages were common in Great Britain, often with dwelling quarters on the lower floors and loom-shop on the top floor. Cellar loomshops on the ground floor or in the basement were found where cotton was woven, as they provided high humidity. A loom-shop can be often recognised by a long row of windows which provided maximum light for the weaver. (Full article...)
  • Image 10 White Oak Mill Cone Mills Corporation was an American textile manufacturing company. It produced cotton fabrics such as corduroy, flannel, and denim. The company headquartered in Greensboro, North Carolina. (Full article...)

    White Oak Mill

    Cone Mills Corporation was an American textile manufacturing company. It produced cotton fabrics such as corduroy, flannel, and denim. The company headquartered in Greensboro, North Carolina. (Full article...)
  • Image 11 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 12 Joan Schulze (born October 13, 1936) is an American artist, lecturer, and poet. Schulze's career spans over five decades: she is best known for her work of contemporary quilts, fiberarts, and collage. Schulze has been named a “pioneer of the art quilt movement,” and her influence has been compared to that of Robert Rauschenberg’s. Her work is in galleries and private collections worldwide including the Renwick Gallery/Smithsonian Institution in Washington DC, the Museum of Arts and Design in New York, & the Oakland Museum of California. (Full article...)
    Joan Schulze (born October 13, 1936) is an American artist, lecturer, and poet. Schulze's career spans over five decades: she is best known for her work of contemporary quilts, fiberarts, and collage. Schulze has been named a “pioneer of the art quilt movement,” and her influence has been compared to that of Robert Rauschenberg’s. Her work is in galleries and private collections worldwide including the Renwick Gallery/Smithsonian Institution in Washington DC, the Museum of Arts and Design in New York, & the Oakland Museum of California. (Full article...)
  • Image 13 Bancroft in 2011 Bronwyn Bancroft AM (born 1958) is an Aboriginal Australian artist, administrator, book illustrator, and among the first three Australian fashion designers to show their work in Paris. She was born in Tenterfield, New South Wales, and trained in Canberra and Sydney. In 1985, Bancroft established a shop called Designer Aboriginals, selling fabrics made by Aboriginal artists, including herself. She was a founding member of Boomalli Aboriginal Artists Co-operative. Her artwork is held by the National Gallery of Australia, the Art Gallery of New South Wales and the Art Gallery of Western Australia. She illustrated and written 47 ;children's books, including Stradbroke Dreamtime by activist Oodgeroo Noonuccal, and books by artist Sally Morgan. Her design commissions include one for the exterior of a Sydney sports centre. (Full article...)

    Bancroft in 2011

    Bronwyn Bancroft AM (born 1958) is an Aboriginal Australian artist, administrator, book illustrator, and among the first three Australian fashion designers to show their work in Paris. She was born in Tenterfield, New South Wales, and trained in Canberra and Sydney.

    In 1985, Bancroft established a shop called Designer Aboriginals, selling fabrics made by Aboriginal artists, including herself. She was a founding member of Boomalli Aboriginal Artists Co-operative. Her artwork is held by the National Gallery of Australia, the Art Gallery of New South Wales and the Art Gallery of Western Australia. She illustrated and written 47 ;children's books, including Stradbroke Dreamtime by activist Oodgeroo Noonuccal, and books by artist Sally Morgan. Her design commissions include one for the exterior of a Sydney sports centre. (Full article...)
  • Image 14 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 15 Whitney in 1822 Eli Whitney Jr. (December 8, 1765 – January 8, 1825) was an American inventor, widely known for inventing the cotton gin in 1793, one of the key inventions of the Industrial Revolution that shaped the economy of the Antebellum South. Whitney's invention made upland short cotton into a profitable crop, which strengthened the economic foundation of slavery in the United States and prolonged the institution. Despite the social and economic impact of his invention, Whitney lost much of his profits in legal battles over patent infringement for the cotton gin. Thereafter, he turned his attention to securing contracts with the government in the manufacture of muskets for the newly formed United States Army. He continued making arms and inventing until his death in 1825. (Full article...)

    Whitney in 1822

    Eli Whitney Jr. (December 8, 1765 – January 8, 1825) was an American inventor, widely known for inventing the cotton gin in 1793, one of the key inventions of the Industrial Revolution that shaped the economy of the Antebellum South.

    Whitney's invention made upland short cotton into a profitable crop, which strengthened the economic foundation of slavery in the United States and prolonged the institution. Despite the social and economic impact of his invention, Whitney lost much of his profits in legal battles over patent infringement for the cotton gin. Thereafter, he turned his attention to securing contracts with the government in the manufacture of muskets for the newly formed United States Army. He continued making arms and inventing until his death in 1825. (Full article...)

Did you know (auto generated)

  • ... 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 according to Brandy Hellville, executives at Brandy Melville have bought the clothes off of employees' backs?
  • ... 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 Oduwa's reign saw cowries becoming so widespread as currency that nobles stitched them into their clothes, causing runaway inflation?
  • ... 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?
  • ... that Sandra Ng wore her own clothes while filming Love Lies to help the production crew save on the budget?

More Did you know

Bead crochet

Selected image

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

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.

General images -

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

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