The purpose of this study was to understand what textile art means in Irish culture and society through the lens of women who create it. The methodology used in this study was founded in part on the phenomenological exploration of meaning within lived experience and was informed by concerns raised within and central to contemporary feminist writing about women's experiences in society and culture. Four interpretive techniques were used to collect data in the field: long interviews, a demographic questionnaire, close observation, and an analysis of each artist's work. Three conceptual areas were used to structure the thematic interpretation: identity, marginality, and agency. The results of this interpretation provide insight into the ways that textiles, as an artistic medium, help to shape and redefine notions of gender and creative expression in a socio-cultural context.

PurposeThe fair trade system was established as an alternative to the free trade system. In the case of fair trade apparel, certification standards are nascent and there is no consistent logo or labelling to aid consumers in their quest to purchase fairly‐made garments. The purpose of this paper is to examine the practices and marketing strategies of three fair trade apparel businesses based in a metropolitan city in the USA, where there are no clear standards to follow. The interviews taken for these case studies were conducted before the launching of a certification program for fair trade apparel by TransFair USA.Design/methodology/approachThis research comprised three case study fair trade apparel companies – two wholesale and one retail. The case studies are based on in‐depth interviews, the examination of documents provided by business owners, and publicly available information on each of the companies.FindingsThese three case studies revealed differences in fair trade practices. The wholesalers communicated that they perceived a hierarchy of importance in fair trade practices, placing an emphasis on labour standards and workers’ rights and considering environmental standards to be secondary. The lack of a standardized logo for labels on fair trade apparel has meant that the businesses have had to find creative ways to communicate their fair trade practices to consumers. None of the participants felt that this lack of standardization negatively impacted their businesses.Practical implicationsThere is need for a standardized label to make fair trade apparel easily identifiable for consumers and for the further development of standards for fair trade apparel and the marketing of fair trade apparel.Originality/valueStandards for fair trade apparel are currently being developed and the paper provides valuable information about the process by which fair trade standards are formed and marketed in practice.

In this article, interviews with 25 contemporary Irish women textile artists form the basis of an exploration of women's experiences with creative expression. An interpretive framework that highlights key socio-cultural and gender issues is used to critically examine the experiences of these 25 artists and situate their lives and work at the center of expression in the textile medium in Ireland today. Their experiences with making textile art, as well as sharing it, are explored, as are the challenges they face in dealing with a public largely unaware of the social and economic value of the textile medium. As the interpretation illustrates, these women artists find themselves taking on the role of educators in order to build visibility for their work, and ultimately, what they hope will be support for and acceptance of their particular brand of creative expression. Article:Ireland has a rich history of textile crafts, a history that is directly linked to the hands of women. Lace-making, knitting, and crochet, as well as the production of fabrics such as tweeds and linen, are several types of textile products that are commonly associated with Ireland's textile heritage. These products were often created by women, whether working in factories or at home

Clothing and textiles research is examined within a futuring framework to discuss potential avenues for development of thought within the field. A philosophical perspective linking ontology, epistemology, and methodology is posited as important to exploring assumptions that guide the research process. The material culture studies perspective, the feminist social science perspective, and the critical science perspective are discussed as three potential ways of approaching the subject matter in need of mainstreaming as we look to the future of knowledge production within clothing and textiles. Based on this discussion, ideas and implications for scenario-building in the traditional futures sense are presented.The past gives us knowledge and experience, and the present gives the power to change things, together, the past and present allow us to envision-and shape-the future.