I grew up in a small town in the Netherlands which, for years, had been a center of textile production.

I enjoy fashion photography and textiles, that whole aspect of it. As more of an art form, I like Proenza Schouler. Those guys are really cool because they seem to have an interesting approach to it all.

I fear that CAFTA will accelerate the demise of these domestic textile jobs.

My grandmother had a cupboard where she kept her collections and textile samples of all sorts of things. When I had good grades, I could take out one piece of work to look at.

I am a great lover of art, in many forms: paintings, objets, textiles. I don't have the talent for painting, but I have a very good sense of colour, a love of visual beauty.

The Hewitt sisters were these amazing - both sort of philanthropists and dilettantes who went out and single-handedly collected all of these of-the-moment designs in wallpaper and textiles and in graphic design in order to teach people about design.

My family was in two businesses - they were in the textile business, and they were in the candy business. The conversations around the dinner table were all about the factory floor and how many machines were running and what was happening in the business. I grew up very engaged in manufacturing and as part of a family business.

I was at college studying psychology, philosophy, textiles and drama. But because I wasn't one of those all-singing, all-dancing stage-school kids, I just assumed I'd never become an actor.

Baba Seva - Seva Efraimovna Gekhtman - was born in a small town in Ukraine in 1919. Her father was an accountant at a textile factory, and her mother was a nurse. Her parents moved to Moscow with her and her brothers when she was a child.

I was born Pauline Matthews and grew up in Bradford as one of three children - I had an older brother, David, and an older sister, Betty. My father Fred worked in the mills as a textile weaving supervisor, and my mother, Mary, was a housewife.

There are children who are working in textile businesses in Asia who would be prostitutes on the streets if they did not have those jobs.

My father was a self-employed textile agent, and the shop below his office was an art gallery.

My father, Anthony, was a textile agent who sold fabric in the West End and was away a lot. He was very glamorous. When he first met my mum, he swept her off into this big, social world.

Traveling around Ethiopia, I saw dozens of abandoned textile factories. People kept asking me to help them find work. So I thought I could make use of my experience in fashion to commercialize their products outside of Ethiopia.

There's a broad range of fashion: knitwear, textiles, journalism.

Because America doesn't have a strong textile industry anymore, we have to bring things like fabrics, zippers, and color tape into the U.S., and having so many elements involved in production adds to the amount of waste. You might have some things coming from Italy, a button coming from China, or lining coming from Korea; it's just endless.

Years ago, I was asked to come up to do a store signing in Vermont. The short version is the two younger guys who own the store pick me up at the airport and start driving me around Vermont, showing me the sights and the textile mills and the restaurants, and the punchline is there's no store. There is no store!

When I went to college, I did clothing and textiles. It really wasn't until I moved to New York, my second night in, I did stand-up. I took a wild left turn, and instead of going back and finishing school at FIT, I started doing stand-up and acting.

I went to school for clothing and textiles and thought this is what I was going to do. Then I started working in costumes and literally said, 'I don't know if I can take the actors.'

I realized early on, maybe better than some of my competitors did, that a textile business can run only if you have scale. I decided to horizontally and vertically integrate, adding everything from spinning, dyeing, weaving, and stitching to processing and packing.

Consulting offered me an opportunity to see a lot of different businesses in different regions of the world, to see how textiles were being affected by foreign competition, how technology was changing.

By that time - the early '70s - Vimal was a fairly successful textile brand. So everybody expected me to do textile engineering. I shocked them by saying that I would go to IIT.

My father was into textile painting and ran a small business. He encouraged me a lot and loved seeing my plays.

We're not handling things anymore before they arrive on our doorstep. I like to feel how thin porcelain can be, run my hand over a textile, see if I want to sit in a chair.

I would love to help the textile sector, but at the same time, a big red flag is held by the automotive parts and automotive sector. They don't want to open up to the European Union.

I remember at the age of five travelling on a trolley car with my mother past a group of women on a picket line at a textile plant, seeing them being viciously beaten by security people. So that kind of thing stayed with me.

I grew up in North Carolina. My father was a salesperson; he sold textiles.

I grew up in a small town in the Netherlands which, for years, had been a center of textile production.

I'd grown up in a working class neighborhood in Baltimore, a place hard hit by the offshoring of numerous heavy industries - steel, textile, shipbuilding.

My dream, maybe because of my family, of course, was to be a painter. I chose in one moment the direction of textiles; from textiles I went to fashion.

Initially I even had to work in a textile firm for a meagre salary of Rs. 400 a month. Then things changed for me when I became an assistant to Shekhar Kapoor.