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2<br />

Contents<br />

<strong>OATG</strong> Meetings 3<br />

Phyllis Nye - An Appreciation<br />

By Ruth Barnes 4-5<br />

New Editor takes over 5-6<br />

News 7-10<br />

Japanese Fukusa textiles from the Meiji Period<br />

By Hiroko McDermott 12-17<br />

Japanese wrapping textiles at the Horniman<br />

By Fiona Kerlogue 18-19<br />

Cataloguing Iranian textiles at the V&A<br />

By Jennifer Wearden 20-21<br />

The BM store and Lesley Pullen collection 22-23<br />

Mary Kinipple’s Tibetan collection 24-25<br />

Book reviews 26-30<br />

UK and overseas Events 31<br />

EDITORIAL<br />

This issue of the newsletter contains several fascinating articles on Japanese textiles.<br />

Hiroko McDermott’s article on fukusa coverlets shows that Western buyers and collectors<br />

were intensely interested in these wonderful fabrics almost as soon as Japan<br />

began to open up to foreign trade in the second half of the nineteenth century.<br />

She describes a golden age, when beautiful examples could be found in<br />

back-street shops at very low prices. Interestingly, she also reveals that most of the<br />

embroiderers, such as Nagara Yozo whose photograph is on the newsletter’s front<br />

cover, were men.<br />

Fiona Kerlogue, in her article ab<strong>out</strong> the Japanese wrapping textiles on show<br />

at the Horniman Museum, shows how they were used to indicate social status,<br />

gender and respect.<br />

And bringing things right up to date, we have an item ab<strong>out</strong> Jun Tomita, a<br />

master in the art of kasuri — the Japanese form of ikat weaving. Tomita, who has<br />

lived and taught in England, weaves extraordinarily delicate fabrics of the most<br />

subtle designs and adds to their mysterious abstract qualities by painting directly<br />

onto them.<br />

In the next issue I hope to <strong>out</strong>line my ideas on how the newsletter should<br />

go forward. For now, it only remains to thanks Phyllis Nye for her sterling work in<br />

editing it since its inception—see Ruth Barnes’s appreciation on page 4.

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