Saturday, July 28, 2018

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Jill Halbach Sullivan: Nonfiction book looks at unconventional history of graphic clothing patterns

Regardless, these motifs and patterns and more have fascinating associations and histories as told by JUDE STEWART in his book “PATTERNALIA: AN UNCONVENTIONAL HISTORY OF POLKA DOTS, STRIPES, PLAID, CAMOUFLAGE, AND OTHER GRAPHIC PATTERNS.” In addition to content, the book itself is somewhat unconventional by design, both physically and stylistically. Titles found in the adult nonfiction collection tend to be large and heavy, whereas “Patternalia” is small and lightweight. Stylistically, “Patternalia” defies the typical beginning, middle, end formula for telling such stories. The text is dotted with cross-references so readers may develop an alternate storyline. It’s also embellished with quotes and bold graphics throughout. Stewart starts us on our journey with a crash course in patterns and pattern lingo as well as an explanation of how our brains perceive “symmetry, orderliness, and simplicity” — basically, a pattern — and how we define and process this into what we see. He discusses “pareidolia,” which is “the process of seeing imaginary forms, especially faces, in random stimuli,” such as outlets, and “apophenia,” which is the perception of pattern where there is none, which may be either visual or conceptual. A conceptual example of apophenia is that of “gambler’s fallacy.” Before we delve into particular patterns proper, we learn a bit about the history of patterns and the textile industry. The gist is that as production became increasingly industrialized, patterned textiles became cheaper, easily portable and shareable across cultures. As patterns and patterned textiles crossed national borders, their meanings could change or evolve, such as with popular “African print” textiles.

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