#svalbardandjanmayennorway #longyearbyennorway #waterpollution #sewersandsewage #textiles #wastematerialsanddisposal #protectiveclothingandgear #arcticregions #fishandothermarinelife #norway #research #yourfeedscience #science #news
Au #Lesotho, plus de 120 femmes travaillant dans des fabriques #textiles ont révélé avoir été violées par leurs responsables hiérarchiques. Pour certaines, au sein même de l’usine.
Elles ne sont pas les seules. Selon un sondage, 80% des travailleuses de l’industrie textile au #Bangladesh ont été victimes - ou témoins - d’ #abus et de #violencessexuelles au #travail, comme des millions de #femmes dans le monde entier.
Mais nous avons quelques semaines pour contribuer à faire adopter un traité révolutionnaire et soutenir des réformes nationales ambitieuses qui pourraient protéger les femmes du monde entier contre les violences au travail!
6 pays ont déjà ratifié ce traité, mais il en faudra bien plus pour en faire la norme dans le monde entier. Faisons entendre un soutien retentissant aux pays en pointe sur la question tels que l’Espagne, l’Argentine ou l’Équateur avant le prochain sommet international sur les #droitsdesfemmes et sonnons l’alarme tout autour du monde.
Signez maintenant!
(Et n'oubliez de ne plus acheter de vêtements neufs ou fabriqués dans ces pays)
Electrocution threat to pachyderms in Odisha
From agri-waste to eco-textiles: crop residue finds a place in fashion
Chhattisgarh approves auction of 17 coal blocks, triggers wildlife concerns
Leopard skin, arms seized in Odisha: One arrested
Assam Orders Probe Into Death Of Scores Of Birds In Barpeta
🌱🇮🇳🌱
#wildlife #sustainability #scienceandenvironment #naturalworld #environment #india #nature #fashion #textiles #AgriWaste #Assam #Biodegradability #Birds #Chhattisgarh #coalmining #Coalplants #CoalIndia #CropResidue #Ecology #EcoTextiles #Electrocution #Elephants #environmentind #Forest #HumanGreed #Leopardpoaching #News #Odisha #Pachyderms #Poaching #Savewildlife #SaveElephants #SaveLeopards #ShroffIndustries #SpecialTaskForce #Sustainability #Sustainablefashion #sustainablejobs #SustainableSociety #conservation #climatechange #design
#organic #cotton00% #flannel
#woven #yarndyed #chequered #stripped Cotton grown, manufactured in #india
Fabrics sold per meter also #sewed #locally to desired requirement by team “ingredient”
#certified #eco #textiles #organiccotton #whomademyclothes #margaogoaindia #teamingredient
#organic #cotton00% #flannel
#woven #yarndyed #chequered #stripped Cotton grown, manufactured in #india
Fabrics sold per meter also #sewed #locally to desired requirement by team “ingredient”
#certified #eco #textiles #organiccotton #whomademyclothes #margaogoaindia #teamingredient
#organic #cotton100% #woven #yarns
cotton grown, manufactured in #india
#sewed #locally to desired requirement by team “ingredient”
#certified #eco #textiles #organiccotton #whomademyclothes #margaogoaindia #teamingredient
#organic #cotton100% #woven #poplin #chequered #yarndyed
cotton grown, manufactured in #india
#sewed #locally to desired requirement by team “ingredient”
#certified #textiles #organiccotton #whomademyclothes #margaogoaindia #teamingredient
#organic #cotton100% #woven #poplin #chambray #yarndyed
cotton grown, manufactured in #india
#sewed #locally to desired requirement by team “ingredient”
#certified #eco #textiles #organiccotton #whomademyclothes #margaogoaindia #teamingredient
#organic #cotton #voil #prints
cotton grown, manufactured in #india
#sewed #locally to desired requirement by team "ingredient"
#certified #textiles #organiccotton #whomademyclothes #margaogoaindia #teamingredient
#Traditional #Palestinian #Embroidery #Vintage #Costume #Dress #Collar #Colour #Pattern #People #Land #Heritage #Culture #History #Existence #Palestine #History #MiddleEast #Textiles #MyWork #Photography #Art #Our #World
Vintage Palestinian Dress
Close-up of Collar / Dress probably from Ramallah
"Textile arts have been of unique importance in the Middle East since antiquity. In every age, the crafts of spinning, weaving, dyeing and embroidery have been held in high esteem and their traditions have changed relatively little over time. This is demonstrated eloquently in Palestinian costume styles, which have remained virtually unchanged over many centuries.
Around 1500 BC, the land that would later be called Palestine became known as Canaan, “The Land of the Purple.” Its Semitic inhabitants decorated linen and woolen cloth with a precious purple dye extracted from murex sea-snails, and these textiles were prized trade items around the Mediterranean.
In Palestine, the traditional style was itself influenced by the important nearby textile centers of Syria, famous for their silk weaving since the fifth century. Syrian fabrics were used in many Palestinian costumes, and Syrian traditional dresses share a similar repertoire of motifs with their Palestinian counterparts. The influence of the Arabian Peninsula is seen in the ornate silver jewelry brought in by trade and incorporated into the Palestinian costume.
Although the influences on Palestinian costumes have been numerous, the end result is a legacy that is uniquely and distinctly Palestinian, transcending its role as an art form to become a symbol of Palestinian identity. The ancient embroidered patterns bore symbols of hope, prosperity, good health and protection, and had traditional names that reflected natural features: the moon, the cypress tree, the tree of life, Bethlehem Shatweh, 1900 the bird of paradise. Though every woman could express her creativity by her choice of patterns and their arrangement on the dress, each region of Palestine followed its own distinctive stylistic rules.
Embroidery of costume and home accessories was done—and still is done—by women who preserved the traditional patterns by copying older dresses. In so doing they created costumes of lasting beauty that have earned a special place among the ethnic folk dress traditions of the world. More significantly, this tradition of Palestinian needlework has kept alive ancient styles and symbols that have provided us with a unique window to the past."
- Hanan Karaman Munayyer / The Palestinian Heritage Foundation
Hallo! Ich bin #neuhier.
Meine Interessen sind #Buchbinden, #Gärtnern, #Kreativität, #Nähen, #Papier, #Stricken, #Strickdesign (in Training), #Textiles #Gestalten, #DigitalArt, #Tusche, #kochen, #Hühner und vieles mehr.
Ich freu mich auf regen Austausch und Networking.
#Al_Sadu #Bedouin #Women #Weaving #Textiles #Bedu #Culture #Kuwait #Arab #History #Tradition #Art #MiddleEast #Our #World
Bedouin Weaving
"The process of weaving is known in Arabic as Al Sadu, which is also the name of the loom. Threads are stretched between four pegs hammered into the ground to form a long rectangle. Being flat it can easily be rolled up and carried from place to place.
Weaving is one of the oldest crafts of the Arabian Peninsula, and historically, woven textiles were, arguably, the most important artifacts produced by the Bedu society of Kuwait. With traditional Arab culture under threat of change, and desert life in a state of transition due to the region's socio-economic developments, the Bedu have lost much of their traditional status, making their craft skills less valued and meaningful, and resulting in the traditional weaving culture changing beyond recognition and driven to near extinction.
Bedu women are responsible mainly, for associated weaving traditions and historically they have verbally passed information of weaving techniques, patterns and symbolism from generation to generation, but due to the lack of formal education, little has been recorded or documented by them, although through the language of Al Sadu weaving, the textiles speak for themselves.
Bedouin women weavers wove textiles on simple ground looms using hand spun yarns of camel and goat hair, sheep fleece and commercially sourced cotton. Woven textiles were typically constructed from simple warp faced weave techniques and complex complimentary warp techniques, with additional weft twining methods. Traditional woven patterns and designs message the nomadic lifestyle, the desert environment, and the emphasis of symmetry and balance due to the weaving process, providing an expressive visual ‘voice’ to the women weavers."
Keireine Canavan - University of Wales Institute Cardiff UWIC
