http://collections.mfa.org/collections/objectsrdf/315176;jsessionid=07D19D89CDAB448B589E273835B3EA57TFA.Textile and Fashion Arts Collectionhttp://collections.mfa.org/internal/media/dispatcher/965106/resize%3Aformat%3Dfull;jsessionid=07D19D89CDAB448B589E273835B3EA57http://collections.mfa.org/internal/media/dispatcher/973457/resize%3Aformat%3Dfull;jsessionid=07D19D89CDAB448B589E273835B3EA57Ceremonial hanging (palepai)mid-19th centuryCotton plain-weave ground with cotton discontinuous supplementary patterning weftsLong, rectangular cotton cloth with design elements created by discontinuous supplementary weft patterning; primary design is of a pair of red ships with arching bow and stern, hulls decorated with yellow, blue, white spots and medallions, three architectural enclosures or shrines on deck which enclose human figures, leopards and buffalo, a single row of human and animal figures below deck; background motifs include fish and umbrellas.Palepai, or ship cloths, are ritual textiles which represent a belief in the concept of a "ship of the dead," that would carry souls away to the afterlife. Palepai were traditionally displayed at rite of passage ceremonies.http://collections.mfa.org/objects/detailsrdf/125669;jsessionid=07D19D89CDAB448B589E273835B3EA57http://collections.mfa.org/internal/media/dispatcher/905608/resize%3Aformat%3Dfull;jsessionid=07D19D89CDAB448B589E273835B3EA57Découpé folding fanAbout 1590–1600Carved bone sticks, cut skin leaf with silk plain weave and metal strip insertsFan made of carved bone sticks. The leaf of the fan is made from animal skin cut into circular design representing reticella lace and is inset with colored silk and metallic thread. The silver rivet at the base of the stocks is in the form of a flaming star.http://collections.mfa.org/objects/detailsrdf/124510;jsessionid=07D19D89CDAB448B589E273835B3EA57http://collections.mfa.org/internal/media/dispatcher/961830/resize%3Aformat%3Dfull;jsessionid=07D19D89CDAB448B589E273835B3EA57Dress and petticoat (Robe Volante)about 1730Silk lampasBlue silk lampas with white floral motifs. Overdress: loose fitting bodice and full skirt; short fitted sleeves with gathered asymmetrical cuffs; sack (Watteau) back; worn over trimmed corset. Petticoat fullness knife pleated into blue linen waistband except at front. Blue linen partial linings.http://collections.mfa.org/objects/detailsrdf/488666;jsessionid=07D19D89CDAB448B589E273835B3EA57http://collections.mfa.org/internal/media/dispatcher/1203817/resize%3Aformat%3Dfull;jsessionid=07D19D89CDAB448B589E273835B3EA57Embroidered overmantel with original frame1745–50Eunice BourneLinen plain weave, embroidered with wool, silk, metal-wrapped thread, and glass beadsEmbroidered overmantel with three scenes: spinning lady, fishing lady, and strolling couple. Worked in polychrome wool and silk in tent and knot stitches, with glass beads and metallic yarn. Original frame, wooden slats dividing scenes missing.http://collections.mfa.org/objects/detailsrdf/67723;jsessionid=07D19D89CDAB448B589E273835B3EA57http://collections.mfa.org/internal/media/dispatcher/786640/resize%3Aformat%3Dfull;jsessionid=07D19D89CDAB448B589E273835B3EA57Fragment with wrestling lions and harpiesEarly 12th centurySilk lampas with supplementary discontinuous metal-wrapped patterning weftsFragment of shroud believed to have been part of the shroud of a bishop of Burgo de Osma. Design of pairs of lions attacking human-headed birds within circles connected by smaller circles containing inscriptions, woven with red, green, and light brown silk (weft) and gold thread (brocaded). The inscription has been translated by R. Guest as follows "This was made in the town of Baghdad, may God guard it."http://collections.mfa.org/objects/detailsrdf/66254;jsessionid=07D19D89CDAB448B589E273835B3EA57http://collections.mfa.org/internal/media/dispatcher/1822364/resize%3Aformat%3Dfull;jsessionid=07D19D89CDAB448B589E273835B3EA57Hunting carpetabout 1530Aqa Mirak and Sultan MuhammadSilk warp and weft with silk knotted pile, with supplementary metal-wrapped patterning weftsScenes of hunting and feasting on this carpet reflect the pastimes of the Safavid court. The size of the carpet, the use of the silk throughout, and the exquisite workmanship (up to 810 knots per square inch) suggest that it was made for Shah Tahmasp (r. 1524–1576). Its rich pictorial patterns are thought to have been designed by the leading painters at the Safavid court.In the central medallion, highlighted with metallic threads, is a combat between dragons and phoenixes, a motif which reflects Chinese influence on Persian art. Within the blossoming vines of the surrounding field, novice hunters attack rabbits with clubs while more skilled hunters kill deer and antelope with spears and swords or battle lions barehanded.The relaxed atmosphere of the border design contrasts with the violent activity of the carpet's center. Richly dressed courtiers eat and drink and, as described in Persian poetry, discuss the day's hunting adventures.http://collections.mfa.org/objects/detailsrdf/49170;jsessionid=07D19D89CDAB448B589E273835B3EA57http://collections.mfa.org/internal/media/dispatcher/896559/resize%3Aformat%3Dfull;jsessionid=07D19D89CDAB448B589E273835B3EA57John Travolta1978Ed RossbachNewspaper and reeds tied with cotton twine and electrical tape, and heat-transfer-printed silk plain weave (organza)Three-dimensional assemblage comprised of a tied reed "easel" upon which is attached a small square of silk organza, heat transfer printed with image of John Travolta's face.Reproduced with permission.http://collections.mfa.org/objects/detailsrdf/336515;jsessionid=07D19D89CDAB448B589E273835B3EA57http://collections.mfa.org/internal/media/dispatcher/962052/resize%3Aformat%3Dfull;jsessionid=07D19D89CDAB448B589E273835B3EA57Man's mantle and two border fragmentsA.D. 50–100Wool (camelid fiber) plain weave, embroidered with wool (camelid fiber)Black wool ground with design worked in wool of bird impersonators with elaborate wings, fringed capes, headdresses, and snakes, carrying ceremonial staffs and trophy heads. The colors (crimson, pink, blue, dark green, yellow and grayish green) are used in four different combinations of color in the figures. Unfinished rectangles in each corner show similar figures on an embroidered golden brown ground.http://collections.mfa.org/objects/detailsrdf/456932;jsessionid=07D19D89CDAB448B589E273835B3EA57http://collections.mfa.org/internal/media/dispatcher/939620/resize%3Aformat%3Dfull;jsessionid=07D19D89CDAB448B589E273835B3EA57Man's robe restyled as a Tibetan chuba17th centurySilk, metal-wrapped, and peacock-feather-wrapped thread slit tapestryTapestry-woven dragon robe, restyled as Tibetan chuba during the 19th century. Large gold dragon on front and back, ground covered with blue and green clouds. Ying-lung dragon with three eyes, horns and five claws. Restyling incorporates 4 later rank badges and other kossu fabricshttp://collections.mfa.org/objects/detailsrdf/315329;jsessionid=07D19D89CDAB448B589E273835B3EA57http://collections.mfa.org/internal/media/dispatcher/735296/resize%3Aformat%3Dfull;jsessionid=07D19D89CDAB448B589E273835B3EA57Man's wrapperabout 1900Raffia, plaited and tie-dyedPlaited raffia man's wrapper, tie-dyed with ochre colors, fringe at two ends.http://collections.mfa.org/objects/detailsrdf/272774;jsessionid=07D19D89CDAB448B589E273835B3EA57http://collections.mfa.org/internal/media/dispatcher/961840/resize%3Aformat%3Dfull;jsessionid=07D19D89CDAB448B589E273835B3EA57Neck ornament3rd-4th century A.D.(?)Wool, linen, and gold-wrapped silk thread slit tapestryGround of dark brownish purple wool; deisgn of green, red and brown wool, natural-colored linen and gold wrapped silk; consists of two squares, one slightly larger than the other, connected by two bands; the larger square represents dolphins and marine deities, including nereids, erotes and a triton; the square panel at the other end shows a sea creature holding a rudder; the two bands display jewel-like motifs and three heads in each band; the central head, crowned by wreaths, probably represents Dionysus.http://collections.mfa.org/objects/detailsrdf/48771;jsessionid=07D19D89CDAB448B589E273835B3EA57http://collections.mfa.org/internal/media/dispatcher/973453/resize%3Aformat%3Dfull;jsessionid=07D19D89CDAB448B589E273835B3EA57Noh costume (atsuita)late 17th to early 18th centurySilk twill with supplementary silk and gilt-paper weftsNoh theater robe for a male role (atsuita) with a green ground and overall design of peonies in light green, orange, pale blue, pale yellow and brown silk and undulating vertical lines (tatewaku) in white silk supplemental weft patterning. There is a reddish-orange plain-weave silk lining.http://collections.mfa.org/objects/detailsrdf/28297;jsessionid=07D19D89CDAB448B589E273835B3EA57http://collections.mfa.org/internal/media/dispatcher/1624155/resize%3Aformat%3Dfull;jsessionid=07D19D89CDAB448B589E273835B3EA57Panel from bedcover1925–28Marguerite ZorachLinen and wool, embroideredPolychrome wool embroidered on linen. Scene depics God and four angels looking down on the pursuits of the artist's family on sea and land. Includes two figures on large sail boat below large fish. Other scenes of figures in landscape. SIGNED: MADE FOR HELEN HOOPER BROWN AND LATHROP BROWN IN THE YEARS 1925-1925 BY MARGUERITE ZORACH. Condition: Good, linen slightly soiled, especially top edge; tack holes around edges. Originally made to be part of a bed cover with 1992.351© The Zorach Collection LLChttp://collections.mfa.org/objects/detailsrdf/128180;jsessionid=07D19D89CDAB448B589E273835B3EA57http://collections.mfa.org/internal/media/dispatcher/1624163/resize%3Aformat%3Dfull;jsessionid=07D19D89CDAB448B589E273835B3EA57Pictorial quilt1895–98Harriet PowersCotton plain weave, pieced, appliqued, embroidered, and quiltedAppliqué quilt, dyed and printed cotton fabrics applied to cotton. The quilt is divided into fifteen pictorial rectangles. Worked with pieces of beige, pink, mauve, orange, dark red, gray-green and shades of blue cotton.This extraordinary quilt was created by Harriet Powers, an African American woman who was born into slavery in Clarke County, Georgia on October 29,1837. This quilt (together with Powers's descriptions and small portrait photograph) was presented by a group of "faculty ladies" at Atlanta University to a trustee by 1898. Powers had created a similar quilt around 1886, which had been exhibited at the Cotton States Exposition in Atlanta in 1895.The following are Powers' descriptions of all fifteen blocks starting in the upper left and moving to the right.FIRST ROW: 1. Job praying for his enemies. Job crosses. Job's coffin. 2. The dark day of May 19, 1780. The seven stars were seen 12 N. in the day. The cattle wall went to bed, chickens to roost and the trumpet was blown. The sun went off to a small spot and then to darkness. 3. The serpent lifted up by Moses and women bringing their children to look upon it to be healed. 4. Adam and Eve in the garden. Eve tempted by the serpent. Adam's rib by which Eve was made. The sun and the moon. God's all-seeing eye and God's merciful hand. 5. John baptizing Christ and the spirit of God descending and resting upon his shoulder like a dove. SECOND ROW: 6. Jonah cast over board of the ship and swallowed by a whale. Turtles. 7. God created two of every kind, male and female. 8. The falling of the stars on Nov. 13, 1833. The people were frightened and thought that the end had come. God's hand staid the stars. The varmints rushed out of their beds. 9. Two of every kind of animal continued...camels, elephants, "gheraffs," lions, etc. 10. The angels of wrath and the seven vials. The blood of fornications. Seven-headed beast and 10 horns which arose of the water. THIRD ROW: 11. Cold Thursday, 10 of February, 1895. A woman frozen while at prayer. A woman frozen at a gateway. A man with a sack of meal frozen. Icicles formed from the breath of a mule. All blue birds killed. A man frozen at his jug of liquor. 12. The red light night of 1846. A man tolling the bell to notify the people of the wonder. Women, children and fowls frightened by God's merciful hand caused no harm to them. 13. Rich people who were taught nothing of God. Bob Johnson and Kate Bell of Virginia. They told their parents to stop the clock at one and tomorrow it would strike one and so it did. This was the signal that they had entered everlasting punishment. The independent hog which ran 500 miles from Georgia to Virginia, her name was Betts. 14. The creation of animals continues. 15. The crucifixion of Christ between the two thieves. The sun went into darkness. Mary and Martha weeping at his feet. The blood and water run from his right side.http://collections.mfa.org/objects/detailsrdf/116166;jsessionid=07D19D89CDAB448B589E273835B3EA57http://collections.mfa.org/internal/media/dispatcher/1822362/resize%3Aformat%3Dfull;jsessionid=07D19D89CDAB448B589E273835B3EA57Portière made from Morris & Co. Oak damask (one of four)1892–93May MorrisSilk damask, embroidered with silk in darning, satin, stem, long-armed cross, buttonhole and couching, with silk fringe and cotton liningSilk yarns embroidered on green floral damask "Oak" designed by William Morris for Morris & Co., 1880-1881. Signed "MM" (May Morris, daughter). Eight long-trunk fruit trees bearing plums, pomegranates, apples, oranges(?), cherry blossoms; climbing vines. Inscription at top of panel: LO SILKEN MY GARDEN and SILKEN MY SKY AND SILKEN MY APPLE BOUGHS HANGING ON HIGH.http://collections.mfa.org/objects/detailsrdf/156016;jsessionid=07D19D89CDAB448B589E273835B3EA57http://collections.mfa.org/internal/media/dispatcher/1012719/resize%3Aformat%3Dfull;jsessionid=07D19D89CDAB448B589E273835B3EA57Shawlmid-17th centuryCashmere twill tapestryWhite shoulder mantle bordered with red flowers and hashia of serpentine buds.http://collections.mfa.org/objects/detailsrdf/48429;jsessionid=07D19D89CDAB448B589E273835B3EA57http://collections.mfa.org/internal/media/dispatcher/965106/resize%3Aformat%3Dfull;jsessionid=07D19D89CDAB448B589E273835B3EA57Tapestry: Wild Men and Moorsabout 1440Linen and wool slit tapestrySeries of scenes (left to right), wild men attacking Moors in castle, wild men fighting with lion, dragon, and unicorn, and wild men carrying food to wild woman with two children seated at foot of rocks; stylized trees, plants, rocks; stylized trees, plants, rocks; pinkish-red background covered with roses in two shades of pinkish-red, frames by diamond lattice formed by links of chain, blue, darker blue, and white. In lower part of tapestry, right half, a shield divided horizontally, upper half yellow with two red roses with blue conters, lower half black (Blümel, Alsace), same arms appear as manteling on helmet lower center of tapestry. On far right helmet surmounted by ibex horn with mantling red with two white stars (Zorn, Strassburg). Human faces woven without features, which are painted, possibly originally embroidered, some embroidery stitches survive. Weaving finished so back and face almost identical, except for faces. Colors include very dark blue (almost black), several shades of blue, green, yellow, orange, pink, red, and grayish violet.http://collections.mfa.org/objects/detailsrdf/106003;jsessionid=07D19D89CDAB448B589E273835B3EA57http://collections.mfa.org/internal/media/dispatcher/898014/resize%3Aformat%3Dfull;jsessionid=07D19D89CDAB448B589E273835B3EA57Woman's bra and necklaceabout 1975Elsa PerettiSilver mesh© Nando and Elsa Peretti Foundationhttp://collections.mfa.org/objects/detailsrdf/450149;jsessionid=07D19D89CDAB448B589E273835B3EA57http://collections.mfa.org/internal/media/dispatcher/961864/resize%3Aformat%3Dfull;jsessionid=07D19D89CDAB448B589E273835B3EA57Woman's evening dressSpring 2001Geoffrey BeeneSilk knit (jersey) and linen plain weaveBlack matte jersey wrap full-length gown with geometric blue and lavender linen inserts at center front of bodice and skirt; sleeveless with plunging V-neckline.Reproduced with permission.http://collections.mfa.org/objects/detailsrdf/448384;jsessionid=07D19D89CDAB448B589E273835B3EA57http://collections.mfa.org/internal/media/dispatcher/1381030/resize%3Aformat%3Dfull;jsessionid=07D19D89CDAB448B589E273835B3EA57Woman's evening dressabout 1868, restored about 1962Mme. RogerSilk plain weave patterned with weft floats, net, satin and blond laceEvening dress in two parts. Bodice and most of skirt of white satin with self figure of broad ribbon serpentines with crossing sprays of highly decorative flowers and fruit including pomegranate; bodice with low rounded neck in front, lower edge cut in tabs, sleeves elbow length with white chiffon forming top slightly puffed portion; skirt front of white satin cut straight with flounce of knife pleats along bottom edge, fullness of skirt at back in soft pleats, pleated puffs on side, bows of white satin finished with tassels of silk and artificial pearls, artificial pearl fringe along front edges of overskirt. Some additional trimming originally on dress, but now missing.http://collections.mfa.org/objects/detailsrdf/488662;jsessionid=07D19D89CDAB448B589E273835B3EA57http://collections.mfa.org/internal/media/dispatcher/1036475/resize%3Aformat%3Dfull;jsessionid=07D19D89CDAB448B589E273835B3EA57Woman's evening dress: Katisha-SanSpring-Summer 2007John GallianoSilk satin and plain weave (faille) embroidered with silk and crystalsStrapless evening dress (Look 27 from Origami Couture collection, Spring/Summer 2007) of white silk satin; with red faille drape around skirt and watteau-like back pleats; white satin embroidered with Swarowski crystals (embroidered by Montex) and red faille embroidered with green bamboo and Japanese decorative motives in thick twist silk (embroidered by Muller); White silk satin woven by Taroni (Como, Italy) and red faille woven by Veraseta (Charlieu, France). Created in the Couture Atelier of Dior, 300 hours of work.Reproduced with permission.http://collections.mfa.org/objects/detailsrdf/505972;jsessionid=07D19D89CDAB448B589E273835B3EA57http://collections.mfa.org/internal/media/dispatcher/794152/resize%3Aformat%3Dfull;jsessionid=07D19D89CDAB448B589E273835B3EA57Woman's jacketabout 1610–15, with later alterationsLinen plain weave, embroidered with metallic threads and spangles; metallic bobbin laceUndyed linen embroidered with silver and gilt-silver yarns and spangles in daffodil scroll pattern, trimmed with metallic lace. Reconstructed with non-matching linen ground. Same embroidery pattern as 43.244a-bhttp://collections.mfa.org/objects/detailsrdf/116779;jsessionid=07D19D89CDAB448B589E273835B3EA57