Various patterns of Ikat from Lombok, Indonesia

Detail of a classic Gujarati patola from the early 19th century. LACMA textile collections.

Ikat abr, silk and cotton, mid-19th century, Uzbekistan. Smithsonian collections.

Ikat, or Ikkat, is a dyeing technique used to pattern textiles that employs a resist dyeing process similar to tie-dye on either the warp or weft fibres.

Bindings, which resist dye penetration, are applied to the threads in the desired patterns and the threads are dyed. Alteration of the bindings and the dyeing of more than one color produce elaborate, multicolored patterns. When all of the dyeing is finished the bindings are removed and the threads are ready to be woven into cloth.

The defining characteristic of ikat is the dyeing of patterns, by means of bindings, into the threads before cloth construction, the weaving of the fabric, takes place. Herein lies the difference between ikat and tie-dye. In tie-dye the fabric is woven first and the resist bindings are then applied to the fabric which is dyed.

In warp ikat the patterns are clearly visible in the warp threads on the loom even before the plain colored weft is introduced to produce the fabric. In weft ikat it is the weaving or weft thread that carries the dyed patterns which only appear as the weaving proceeds. In weft ikat the weaving proceeds much slower than in warp ikat as the passes of the weft must be carefully adjusted to maintain the clarity of the patterns.

Double Ikat is where both warp and the weft are resist-dyed prior to stringing on the loom. Traditionally, and still commonly, a back-strap loom is used, though any variant or modern loom may be used.

Etymology[link]

Ikat is an Indonesian language word, which depending on context, can be the nouns: cord, thread, knot and the finished ikat fabric as well as the verbs "to tie" or "to bind". It has a direct etymological relation to Javanese language of the same word. Thus, the name of the finished ikat woven fabric originates from the tali (threads, ropes) being ikat (tied, bound, knotted) before they are being put in celupan (dyed by way of dipping), then berjalin (woven, intertwined) resulting in a berjalin ikat- reduced to ikat.

Rouffaer is attributed to introducing the term ikat into European language.^[1] Ikat is now a generic English loan-word to describe either or both the process and the cloth itself- wherever and however the fabric may be woven or stylized through ethnic or the weaver's motives.

Linguistically, strictly speaking: the plural of ikat in Indonesian remains ikat. However, in English the Saxon suffix plural ('s') is commonly affixed, as in ikats and similarly in other languages. All are correct, though for orthography, this article favours the original Indonesian.

Distribution[link]

Ikat is a near universal weaving style common to many world cultures. Likely, it is one of the oldest forms of textile decoration.

In Central and South America, what is labeled as ikat is still common in Argentina, Bolivia, Ecuador, Guatemala and Mexico.

In the 19th century, the Silk Road desert oases of Bukhara, Samarkand, Hotan and Kashgar (in what is now Uzbekistan and Xinjiang Uyghur Autonomous in Central Asia) were famous for their fine silk Uzbek/Uyghur ikat. Ikat floral patterns are traditionally used in Europe on Mallorca, Spain.

India, Japan and many South-East Asian nations such as Cambodia, Myanmar, Philippines and Thailand have weaving cultures with long histories of Ikat production.

Double ikat is still endemic to Guatemala, India, Japan and Indonesia: specifically: Bali, Java, Kalimantan (Borneo) and Sumatra.

Ikat weaving styles vary widely. Many design motifs may have ethnic, ritual or symbolic meaning or have been developed for export trade. Traditionally, ikat are symbols of status, wealth, power and prestige. Because of the time and skill involved in weaving ikat, some cultures believe the cloth is imbued with magical powers.

The history of ikat[link]

As woven fabric rarely survives for more than a few centuries it is extremely difficult, if not impossible, to determine where the technique of ikat originated. It probably developed in several different locations independently. Ikat was known to be produced in several pre-Columbian Central and South American cultures.

Uyghurs call it atlas (in IPA [ɛtlɛs]), and it is used only for woman's clothing. It is recorded that there were 27 types of etles during Qing occupation. Now there are only 4 types of Uyghur atlas remaining, namely Qara-atlas (Darayi, black color ones, used for older women clothing), Khoja'e-atlas (includes yellow, blue, purple colors; used for married women), Qizil-atlas (red color; used for girls) and Yarkant-atlas (Khan-atlas). Yarkant-atlas has more style; During Yarkant Khanate (16th century), it had ten different styles.^[2]

Production[link]

A tricolor warp Ikat weave from Tenancingo Mexico

An Ikat weave of Sambalpuri Saree India

Warp ikat[link]

Ikat created by dyeing the warp are the more simple to make. First the material, be it cotton, silk, wool or other, is tied into bundles. The bundles may be covered with wax (as per batik), wrapped tightly with thread or some other dye-resistant material- to prevent unwanted dye permeation.

The resist dye procedure is repeated depending on the colouration desired of the warp bundle. Multiple colouration is common.

The newly dyed and thoroughly washed bundles are tied as the warped (longitudinal strings) onto the loom. The patterns are usually decided by the weaver as the warp threads are tied. Warp threads are adjusted for the desired alignment for precise motifs.

Some styles of ikat favour a blurred appearance. Guatemalan ikat is quite famous for this. South American and Indonesian ikat are known for such high degree of warp alignment that it may resemble printed, rather than woven cloth. Weavers will adjust the warp repeatedly as the weaving progresses to maintain pattern alignment.

The skill lies in the weaver acting essentially as a selective heddle who selectively manually picks up warp threads before passing the shuttle through the resultant "mini- shed".

Patterns result from a combination of the warp dye and the weft thread colour. Commonly vertical-axis reflection or "mirror-image" symmetry is used to provide symmetry to the pattern- more simply: whatever pattern or design is woven on the right, is duplicated on the left in reverse order, or at regular intervals, about a central warp thread group.

Patterns can be created in the vertical, horizontal or diagonal.

Weft ikat[link]

Weft ikat uses resist-dye for the weft alone. The variance in colour of the weft means precisely delineated patterns are more difficult to weave.

As the weft is commonly a continuous strand aberrations or variation in colouration are cumulative. Weft ikat are commonly employed where pattern precision is of less aesthetic concern than the overall resultant fabric. Some patterns become transformed by the weaving process into irregular and erratic designs. Guatemalan ikat is well-noted for its beautiful "blurs" in colouration.

The precise images of Japanese kasuri ikat are fine examples of weft ikat.

Double Ikat[link]

Double Ikat is where both warp and weft are tie-dyed^[3] or more specifically, employs a variety of tie-dye resist techniques.^[4]

This form of weaving requires the most skill for precise patterns to be woven and is considered the premiere form of ikat. The amount of labour and skill required also make it the most expensive, and many poor quality imitations flood the tourist markets. Indian and Indonesian examples typify highly precise double ikat. Especially prized are the double ikats woven in silk known in India and Indonesia as patola (singular: patolu). These were typically from Gujarat (Cambay) and used as prestigious trade cloths during the peak of the spice trade.

Bhoodan Pochampally, a small village in Nalgonda district, Andhra Pradesh, India is known for its exquisite silk sarees woven in the double Ikat “tie and dye” style.

Before the weaving is done, a manual process of winding of yarn called Asu needs to be performed. This process takes up to 5 hours per saree and is usually done by the womenfolk, who suffer tremendous physical strain due to constantly moving their hand back and forth over 9000 times for each saree. In 1999, a young weaver C Mallesham developed a machine which automated the Asu process, thus developing a technological solution for a decades-old unsolved problem.^[5]

Oshima[link]

Oshima ikat is a uniquely Japanese ikat. In Oshima, the warp and weft threads are both used as warp to weave stiff fabric, upon which the thread for the ikat weaving is spot-dyed. Then the mats are unraveled and the dyed thread is woven into oshima cloth.

The Oshima process is duplicated in Java and Bali but known locally as ikat and is reserved for ruling royalty, notably Klungkung and Ubud: most especially the dodot cloth semi-cummerbund of Javanese court attire.

Other variants[link]

Cambodian[link]

The Cambodian ikat is a weft ikat woven of silk on a multi-shaft loom with an uneven twill weave which results in the weft threads showing more prominently on the front of the fabric than the back.^[6][7]

By the 19th century, Cambodian ikat was considered among the finest textiles of the world. When the King of Thailand came to the US in 1856, he brought as a gift for President Franklin Pierce fine Cambodian ikat cloth.^[8] The most intricately patterned of the Cambodian fabrics are the sampot hol-skirts worn by the women—and the pidans —wall hangings used to decorate the pagoda or the home for special ceremonies.

Unfortunately, Cambodian culture suffered massive disruption and destruction during the mid-20th century Indochina wars but most especially during the Khmer Rouge regime. Most weavers were killed and the whole art of Cambodian ikat was in danger of disappearing. Kikuo Morimoto is a prominent pioneer in re-introducing ikat to Cambodia. In 1995, he moved from Japan and located one or two old lady weavers and Khmer Rouge survivors who knew the art and have taught it to a new generation.

Thai[link]

In Thailand, the local ikat type of woven cloth is known as Matmi (also spelt 'Mudmee' or 'Mudmi').^[9] Traditional Mudmi cloth was woven for daily use among the nobility. Other uses included ceremonial costumes. Warp ikat in cotton is also produced by the Karen and Lawa tribal peoples in northern Thailand.

This type of cloth is the favorite silk item woven by ethnic Khmer people living in southern Isaan, mainly in Surin, Sisaket and Buriram.^[10]

South & Central American[link]

Ikat patterns are common among the Andes peoples, and native people of Argentina, Bolivia, Brazil, Chile, Colombia, Ecuador, Guatemala, Mexico, Peru, and Venezuela. The famous Mapuche shawl or poncho of the "Huaso" cowboys of Chile are one of the most famous to the Westerner. Wool and cabuya fibre are the most commonly used. The Mexican rebozos are made from imported cotton, are warp ikat dyed with indigo using thread wrapping of warp for resist.

South American ikat textiles are commonly woven on a back-strap loom. Pre-dyed warp threads are a common item in traditional markets- saving the weaver much mess, expense, time and labour.^[11] A South American innovation- which may also be employed elsewhere is to employ a round stick around which warp threads are wrapped in groups, thus allowing more precise control of the desired design.^[12] The "corte"- is the typical wrap skirt used worn by Guatemalan women.

Developments[link]

As of 2010, the government of the Republic of Indonesia announced it would pursue in 2011 UNESCO Intangible Cultural Heritage accreditation for its ikat weaving, along with songket, and gamelan having successfully attained this UNESCO recognition for its wayang, batik and the kris.^[13]

References[link]

External links[link]

• [1]
• Fine ikat fabric examples from Uzbekistan craftsman
• Threads of Life — an organization dedicated to sustaining the textile arts of Indonesia
• Ikat technique (illustrated) and history. Ikat from Andhra Pradesh, India. Ikat weavers' cooperative society.
• Ikat from the University of Washington Burke Museum of Natural History and Culture
• A fine example of an ikat from Timor
• a weaving site that teaches you about ikat
• "Ikat". Asia. Victoria and Albert Museum. http://www.vam.ac.uk/page/i/ikat/. Retrieved 2007-11-13. 
• "The Extraordinary Ikat" - The newsletter of ArtXchange (Summer/Autumn 2003) from Internet Archive
• "South American Ikat". South America. Waddington. http://backstrapweaving.wordpress.com/2010/03/05/backstrap-weaving-cross-knit-looping-tutorial-and-ikat. Retrieved 2010-05-03. *
• Meet Chintakindi Mallesham – The inventor of the Laxmi Asu Machine
• National Museum of Australia: Ikat techniques adapted for surfwear

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Oscar de la Renta
Óscar de la Renta at the Hotel Ritz, Madrid during a visit to Spain in 2008
Born	(1932-07-22) July 22, 1932 (age 79) Dominican Republic
Nationality	Dominican/United States
Occupation	Fashion designer
Awards	CFDA Lifetime Achievement Award, American Fashion Critic's Award, Order of Juan Pablo Duarte, Order of Cristóbal Colón
Labels	Oscar de la Renta
Website
www.oscardelarenta.com

Óscar de la Renta (born July 22, 1932 in Dominican Republic) ^[1] is one of the world's leading fashion designers. Trained by Cristóbal Balenciaga and Antonio Castillo, he became internationally known in the 1960s as one of the couturiers to dress Jacqueline Kennedy. An award-winning designer, he worked for Lanvin and Balmain; his eponymous fashion house continues to dress leading figures, from film stars to royalty, into the 2010s. De La Renta is particularly known for his red carpet gowns and evening wear.

Early years[link]

De la Renta was born Óscar Aristides Renta Fiallo in Santo Domingo, Dominican Republic, to a Dominican mother and a Puerto Rican father.^[2][3] At the age of 18 he left the Dominican Republic to study in Spain, where he studied painting at the Academy of San Fernando in Madrid. He quickly became interested in the world of fashion design and began sketching for leading Spanish fashion houses, which soon led to an apprenticeship with Spain's most renowned couturier, Cristóbal Balenciaga. Later, de la Renta left Spain to join Antonio Castillo as a couture assistant at Lanvin in Paris.

Career[link]

In 1963, torn between designing custom clothing for Elizabeth Arden ^[4] as well as designing shoes and accessories, and designing ready-to-wear for Christian Dior-New York, de la Renta turned for advice to Diana Vreeland, the editor-in-chief of Vogue, saying that what he really wanted was to "get into ready to wear, because that's where the money is". Vreeland replied, "Then go to Arden because you will make your reputation faster. She is not a designer, so she will promote you. At the other place, you will always be eclipsed by the name of Dior."^[5] De la Renta proceeded to work for Arden for two years before he in 1965 went to work for Jane Derby and launched his own label.^[6] When Derby died in August 1965 Oscar de la Renta took over the label.^[7]

He was one of the three major protégés of Baron de Gunzburg; the others were Bill Blass and Calvin Klein.^[8]

From 1993 to 2002, Oscar de la Renta designed the haute couture collection for the house of Balmain, becoming the first Dominican to design for a French couture house.^[9] In 2006, the Oscar de la Renta label diversified into bridal wear. ^[10]

His clothes have been worn by many celebrities ^[11], including Gloria Guinness, Hillary Clinton, Nancy Reagan, Laura Bush ^[12], Princess Maxima of the Netherlands ^[13], Princess Madeleine of Sweden ^[14], Tina Fey ^[15], Anne Hathaway.

De la Renta's ready-to-wear designs are available online ^[16] and from his own label stores.^[17]

Other enterprises[link]

In 1977, de la Renta launched his fragrance, OSCAR,^[18] followed by an accessories line in 2001 ^[19] and a homewares line in 2002. ^[20]

In 2006 Oscar de la Renta designed Tortuga Bay, a boutique hotel at PUNTACANA Resort and Club. Tortuga Bay is a Leading Small Hotel of the World ^[21] and a member of Virtuoso.^[22]

Awards, honors, philanthropic endeavors[link]

Design awards[link]

1n 1967 and 1968, de la Renta won the Coty award (the US fashion industry 'Oscars') and in 1973 was inducted into the Coty Hall of Fame.^[23]

From 1973 to 1976, and from 1986 to 1988, he served as President of the CFDA.^[24] He is also a two-time winner of the American Fashion Critic's Award and was inducted into the Fame in 1973. He was named to the International Best Dressed List Hall of Fame in 1973.^[25] In 1968 he got the Neiman Marcus Fashion Award^{[citation needed]}

De la Renta's talents receive continual international recognition. Among them, he received the Council of Fashion Designers Designer of the Year Award in 2000 and in 2007 (tied with Proenza Schouler). In February 1990, he was honored with the CFDA Lifetime Achievement Award.^[26]

Other awards[link]

The Dominican Republic has also honored him with the Order of Juan Pablo Duarte and the Order of Cristóbal Colón. De la Renta founded the Casa del Nino orphanage in La Romana^[27] He has contributed extensively in the construction of a much needed school near his home at the Punta Cana Resort and Club in Punta Cana.^{[citation needed]}

De la Renta serves as a board member of the Metropolitan Opera, Carnegie Hall, and WNET. He also serves on the boards of several charitable institutions such as New Yorkers for Children, the America's Society.

De la Renta is presently chairman of the Queen Sofia Spanish Institute. In 1993, de la Renta was recognized with an award by the Queen Sofia Spanish Institute at their annual gala dinner held in New York.^{[citation needed]}.^{[citation needed]}

Marriages[link]

In 1967, de Renta became the third husband of Françoise de Langlade (1931–1983), an editor-in-chief of French Vogue who once worked for the fashion house of Elsa Schiaparelli. She previously was married to businessman Jean Bruère and diplomat Nicholas Bagenow. After her third marriage, Françoise de la Renta worked as a consultant to Elizabeth Arden, became a prominent hostess, had their Manhattan apartment decorated by Denning & Fourcade,^[28] and later opened her own decorating business (among her clients were Florinda Bolkan and Helmut Berger). Of her approach to fashion, she once said, "Oscar is not my favorite designer–just one of them." As The New York Times noted after her death, "She was also widely credited for some of the successes of her husband, the fashion designer Oscar de la Renta. Although she was not active in his business, she attracted many of the rich and famous to his shows."^[29][30]

In 1989, the designer married Annette Reed (born 1939). She is the former wife of American Heritage magazine publisher Samuel Pryor Reed and is the only child of German banker Dr. Fritz Mannheimer and his wife, Marie Annette Reiss.

De la Renta has stepchildren from both marriages. He also has an adopted son, Moises de la Renta.^[31] His son-in-law Alex Bolen operates as Chief Executive Officer, step-daughter Eliza Bolen serves as Vice President of Licensing, and his son Moises de la Renta works in the Design Studio.^[32]

See also[link]

	Dominican Republic portal
	Fashion portal

• List of people from the Dominican Republic

References[link]