Cashmere is an animal soft, fine and the most luxurious fibre collected from the undercoat of the Cashmere goats. It is low in luster, generally grey, brown and white. Its rare production makes it very luxurious and sometimes it is mixed with very soft wool.
The origin of these fibres dates but as far as the Mongolian empire in the 13th century. The Silk Road impulsed the development of cashmere and shawls made of this fabric reached their greatest popularity in the early 19th century.
The name comes from an old spelling of Kashmir, the region well its production and trade originated.
These images were taken at Chianti Cashmere Goat Farm, where some field research was carried out.
Further characteristics of the fabric: It is silky and extremely fine, soft and drapes with a grateful flow; it retains warmth and it is comfortable to ware; it's weaker than wool and mohair yet it absorbs and retains moisture like wool.
Cashmere fabric is also flame resistant, and hypoallergenic. The best quality cashmere is between 13 and 15 microns in diameter 35-37 mm; the animal fibre is 7 to 19 microns, 25-90 mm.
The alternative to cashmere is wool mohair, yak, alpaca, camel, qiviut or vicuña.
Further interesting facts about respiratory diseases of goats, pregnancy toxaemia and ketosis are below.
Post updated on 21 October.
This part of my textile journey during my social artistic residency at Baltan Laboratories, has brought me closer to passionate wool breeders in New Zealand, and the repellent fabric inventors for the use in raincoats by companies in Italy since 1911. Yet, it's under Dutch Design Week atmosphere, while conducting interviews at New Order of Fashion and research on fibres with Ruben Warnshuis, when our conversation on strong, but harsh, yet biodegradable fibres like Abaca and Sisal, got interestingly unleashed. And this is thanks to their unique properties.
Some website references
This is how deconstructing an old banner with the Catholic concept of the Holy Family with the Feministische Handwerk Partij (FHP) looks like. Such event couldn’t have come at a better time.
The Holy Family has dominated the traditional notion that has both, haunted and enchanted, Hispanic cultures in the Americas since European colonialism. Both, the nuclear and extended family in Spanish speaking cultures, believe in this concept as the main foundation for social structure. This thought, however, is rather hypocritical in a culture heavily known for scoring high in ‘machismo,’ femicide violence, patriarchy, and power distance.
While patriarchy is the universal form of mainstream religions, patriarchal values and social relations also exist in non religious modernity. This post however, aims to highlight on the Hispanic tradition which constitutes by relations of authority, domination and dependency, as a review of the structure of social relations. Hispanic patriarchy originates in the family, it is a hierarchy of authority that is controlled and dominated by males.
Power distance in sociology refers to the attitudes and way that powerful (or non-powerful) members of a community are treated. For centuries, the Catholic Hispanic tradition has promoted daily life scenarios by celibate men, ever since obsessed with the sexuality of women, ruling women’s lives, their bodies and at times violating their human rights.
The promotion of attitudes and conceptions where men are thought that by nature are superior to women—let alone if women are indigenous—begun with celibate men criminalizing and persecuting women in Europe who did not submit. These persecutions turned women into witches in Europe as in other continents.
Today, it is thanks to women’s resistance, perseverance, and support that women have reached a better position in society. Yet a great deal remains to be done in Spanish speaking countries.
FHP or political feminist artist movement founders, Emmeline de Mooij and Margreet Sweerts are part of Interwoven Histories events, where this deconstruction of the Holi Family banner took place. Interwoven Histories is a series of events held in Amsterdam, that aim to unravel the intricate connections between textile, history and society from a contemporary art perspective part of the Touch/Trace research project. Christel Vesters is the curator of Touch/Trace whose manifesto brings together artists, textile designers and makers, writers and thinkers, and everyone interested in the social and geopolitical developments that shape our world today.
De Feministische Handwerk Partij (FHP) founders, Emmeline de Mooij and Margreet Sweerts are part of Life is A Cultural Thread, my film production currently in the making, on women in art, textile craft, entrepreneurship and sustainability, and part of my artistic social residency at Baltan Laboratories.
Please join us in Eindhoven to stitch together a (very large) quilt on Friday 19 November. This social event is for EVERYONE interested to help spread the message over the importance of raising awareness about gender equality. Help for the most vulnerable people is needed. Participants will have the chance to learn over alternative materials and textile innovation to create a positive sociocultural impact and renew ties also with nature. Please contact us to book your spot.
#womenintextile #textile #genderequality #culture
As part of my artistic social residency with Baltan Laboratories, my project Cultural Threads has brought me closer to experts in the textile industry in the Netherlands, as abroad.
That’s how we met Arianna Moroder at LOTTOZERO quarters in Prato in Toscana in Italy, whose textile laboratory go hand in hand with innovation nous.
LOTTOZERO is a young textile creative lab and design office that develops textile design and research projects with artists, designers, and other creative professionals in the industry around the country.