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Drawing from this rich and radical history, Aisling Serrant explores Carnival through one of its most vibrant and unmissable features: costume. First turned to by former slaves in the Caribbean as an act of reclamation and quiet resistance, with roots in West African and European masquerade alike, the colourful costumes of Carnival weekend remain a vital mode of self-expression, protest, and camaraderie. From Canboulay to Leeds and Notting Hill, the costume makers, wearers, and the communities they attract, embody Carnival in the spirit of an expression used across the Caribbean to signify unity among nations and peoples: all ah we is one. About the author Aisling Serrant has worked in cultural programming, community engagement and creative learning in a range of heritage and arts settings. She is currently Head of Learning and Engagement at Lowry, Salford, having previously worked as Cultural Producer at Bradford Council and in engagement roles at the London Museum and UNBOXED Festival 2022. Her work focuses on collaboration, co-production and participatory practice. Written by Aisling Serrant Designed by Chris Shortt Illustrated by Rachel Moss Edited by Jamila Abdel-Razek, Eleanor Chapman, Marisa Clements and Laura Moseley ISBN: 978-1-06862-506-0 200x140mm 80pp Please read our shipping and returns informati", "pricingNote": "", "availability": "available", "url": "https://www.commonthreadspress.co.uk/products/pre-order-all-ah-we-is-one-caribbean-carnival-costume" }, { "name": "Stitching the Intifada: Embroidery and Resistance in Palestine", "description": "Proceeds from this book will be donated to the Palestine Red Crescent Society, whose mission is to provide humanitarian assistance as well as health and social services to Palestinians whenever and wherever needed. Tatreez — elaborate hand-embroidery — is an ancient Palestinian craft characterised by remarkable beauty and complexity. Beginning with an introduction to the regional diversity of historic Palestinian dress, Rachel Dedman traces the politicisation of embroidery after the Nakba of 1948. From its evolution into a symbol of the nation, to its powerful presence during the First Intifada, and reimagination by contemporary artists, tatreez in Palestine embodies many forms of personal and public resistance. About the Author Rachel Dedman (b. 1989, London) is a curator, writer, and art historian. Her work examines the material and political lives of things, and challenges established narratives around cultural production in the Global South. Since 2019, Rachel has been the Jameel Curator of Contemporary Art from the Middle East at the V&A, London, where she curates the triennial Jameel Prize exhibition and the Jameel Fellowship artist residency programme. Beyond the V&A, Rachel curated Material Power: Palestinian Embroidery for Kettle's Yard and The Whitworth, UK, in 2023/24, and was co-curator of the State of Fashion Biennale 2024: Ties that Bind in Arnhem, the Netherlands. ISBN: 9781068625015 80pp 210x125mm Written by Rachel Dedman. Edited by Laura Moseley. Design by Chris Shortt. Please read our shipping and returns information before ordering", "pricingNote": "", "availability": "available", "url": "https://www.commonthreadspress.co.uk/products/stitching-the-intifada-embroidery-and-resistance-in-palestine" }, { "name": "We Will Find Them: Arpilleras and the Political Art of Chile Under Pinochet", "description": "In the shadow of Augusto Pinochet’s dictatorship, resistance in Chile took many forms — including quiet stitches by hand. We Will Find Them: Arpilleras and the Political Art of Chile Under Pinochet reveals the remarkable story of the arpilleristas: groups of women who transformed burlap or hessian cloth into vivid scenes of protest, community and hope. Through their textiles — the arpilleras — they defied censorship, preserved memories and connected the wider world to Chile’s struggles. Blending history, art and testimony, Jess White explores how creative practice became a lifeline during a dark period of Chile’s past. Through their sale overseas, facilitated by the Catholic Church, arpilleras also raised international awareness of what was happening in Chile, with many artworks focusing on the act of ‘disappearing’: the capture of individuals suspected of politically dissident activity by the government, never to be seen again. It also brings into focus the radical work of queer artist Pedro Lemebel, whose performance and writing expanded the boundaries of political resistance and identity, as well as connecting this rich lineage with the contemporary artists that have continued in the shadow of Pinochet, such as Isabel Allende and Cecilia Vicuña. Featuring a selection of arpilleras that have been newly discovered, photographed and published here for the first time, alongside works held in national collections, We Will Find Them offers an intimate glimpse into the creativity and courage of Chilean makers. About the author Jess White is a writer based in Liverpool, UK. 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