TRC Blog: Textile Moments

The Dutch 'Feestrok'' celebrating liberation from Nazi-Germany

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A 'Feestrok' from The Netherlands, celebrating liberation from Nazi-Germany, late 1940's (TRC 2011.0001a).

A 'Feestrok' from The Netherlands, celebrating liberation from Nazi-Germany, late 1940's (TRC 2011.0001a).

The June 2018 issue of the British magazine 'Selvedge' contains an article by Gillian Vogelsang-Eastwood, director TRC, about the so-called 'feestrok'. These were patchwork skirts made in The Netherlands after World War II to celebrate the liberation of the country.

 
The collection of the TRC contains an example of the Feestrok (TRC 2011.0001a), together with its official certificate (TRC 2011.0001b). For a preview of the Selvedge article, click here.

 

 

 

 

 

 

 

   

An intriguing parliamentary uniform from Holland

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Embroidered coat of the parliamentary uniform of Laurens de Groot (TRC 2018.2133a).

Embroidered coat of the parliamentary uniform of Laurens de Groot (TRC 2018.2133a).

A few weeks ago the TRC received a donation of a group of items belonging to Mariet Portheine-ter Kuile. This donation included fifty Berlin wool work charts that formed the basis for a digital exhibition on this subject [click here]. Since then various other items belonging to the Portheine-ter Kuile family have been given to the TRC, including a gala uniform associated with the Tweede Kamer der Staten-Generaal (commonly known as the Tweede Kamer), the Dutch equivalent of the British House of Commons.

The uniform consists of a gold embroidered coat, matching trousers, a bicorn hat with orange cockade, gloves and, of course, a sword. The uniform belonged to the politician, Frederick (Frits) Portheine (1923-1990), who had been a member of the Tweede Kamer between 1963 and 1981. This type of uniform was worn by members of the Tweede Kamer in the late 19th and early 20th centuries on all formal occasions. There were various rules concerning how such garments were worn, as well as colour coding. Ministers, for example, had white trousers with a dark blue coat, while members of the Kamer had dark blue trousers and coat. So what is the history of this particular uniform?

 

Lees meer: An intriguing parliamentary uniform from Holland

   

Exhibition about velvet

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A late 15th century Italian voided velvet in silk and linen (TRC 2011.0362).

A late 15th century Italian voided velvet in silk and linen (TRC 2011.0362).

Plans are being developed for a TRC exhibition about the history, production, types and forms of that most luxurious of fabrics, namely velvet. This subject was chosen because the TRC Collection includes thirty Renaissance-period examples that date from the 15th-17th centuries. They mostly come from Italy, but there are some French and Spanish pieces as well. In order for visitors to really understand these luxury, court-level items and to see how they originally looked, the planned exhibition will include modern examples of the same quality, with comparative designs.

I have have been talking with the Lunsingh firm in Leiden, who are furniture restorers with many connections in the luxury textile world. They have shown me some hand woven velvets that can cost up to €2000 per metre. Some forms are made of pure silk with gold thread. Not surprisingly this type of velvet has to be specially ordered and is not widely available! Some of the other examples they showed me were used for Parliament in The Hague, another for the Royal Palace in Amsterdam and yet another form was used for the Spanish court. They also have examples of so-called Utrecht velvet, which is  made out of mohair (only €650 per metre). What amazing, gorgeous pieces.

A 16th century Spanish silk velvet with stamped design (TRC 2011.0367)

A 16th century Spanish silk velvet with stamped design (TRC 2011.0367)

We have estimated that to get some stunning samples of the main types of velvet currently available will cost about €15000. But it would make a fantastic exhibition and show items that most people will have never seen before. The temptation to touch will be enormous!

The TRC is currently looking for an individual, family or company that would be willing to help with this exhibition (they will, of course, be properly acknowledged). We need to find €15000 for the velvets and if a fully illustrated publication about the history of velvet and the many different types is also produced, then this will require a further €7500 euros. Basically we are looking for a total of €22500 (US$ 26500, GB£19500).

Please let me know if you can help with the realisation of this exhibition as soon as possible, as it is going to take at least a year to organise, but it will be well worth it!

Gillian Vogelsang-Eastwood, Sunday 10th June 2018

   

Embroidery and Hangzhou

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Embroidered rank badge from 19th century China (TRC 2010.0139b).

Embroidered rank badge from 19th century China (TRC 2010.0139b).

As some of you will know I am working on a history of embroidery from around the world for a Bloomsbury (London-based publishers) series of encyclopaedia. The first volume came out in 2016 and at least five more are coming. Throughout the recent conference in Hangzhou (click here) about handlooms and textiles I have been talking with a lot of people about - embroidery.

On various occasions I was able talk about the TRC’s series of encyclopaedias. I had a wonderful opportunity to talk to curators, historians, collectors and dealers about embroidery and the role of this important textile technique. During the conference, I was also able to spend time with one of the conference speakers and his wife. She is a specialist in Chinese minority embroidery. It is thanks to them I am gaining a knowledge of minority forms by being able to handle recently acquired examples, especially from among the Deng, Miao and Yunnan. More on this subject to come!

I have been able to discuss with Eve Anderson, Director of the Centre for Textile Research, University of Copenhagen, Denmark, for example, about the Encylopedia of Embroidery and she has offered help with the research for the archaeological evidence for embroidery in Scandinavia and in preparing the table of contents for the volume on Scandinavian and West European embroidery (vol. 3 in the series).

I also have had the chance to talk with people living in Laos, Indonesia, as well as China, about the 4th volume in the series and everyone has offered help in some manner. It’s been a fascinating time and it was made very clear just how many different types there are, the range of techniques and designs, and the versatility of the subject with respect to East Asia.

I spent a very enjoyable last day in China looking at archaeological examples of Chinese embroidery that are on display in the National Silk Museum. Basically it is going to be an amazing few years putting the East Asian volume of the Bloomsbury Encyclopeadia together.

Gillian Vogelsang-Eastwood, Thursday 7th June 2018.

 

   

National Silk Museum, Hangzhou, China

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Zilu loom for taqueté floor coverings, Iran. National Silk Museum, Hangzhou, China. Photograph: Gillian Vogelsang-Eastwood.

Zilu loom for taqueté floor coverings, Iran. National Silk Museum, Hangzhou, China. Photograph: Gillian Vogelsang-Eastwood.

I am just home from a conference about handlooms held at the National Silk Museum in Hangzhou, China, and what a conference it has been! I am so glad that I went. I was there to give a paper on the history of zilu weaving in Iran (and added a piece about taqueté in Egypt for good measure) and to work with the zilu weaver who came especialy from Iran for the conference. In addition, the TRC had donated a large zilu floor covering from Meybod, Iran, which was put on display in the exhibition. It let the visitors see and understand just how large a zilu loom could actually be.

The conference accompanied an exhibition about handlooms from around the world and for the next two months it is possible to see and come very close to a wide variety of forms. I would make a plea at this moment to larger museums interested in textiles to see if they could borrow this exhibition and the looms. It would be well worth it.

What made the whole conference and exhibition so interesting is that the Museum brought over to China a number of professional handloom weavers – to talk about and demonstrate their looms. Suddenly things that I had read about in books and articles or seen in films and photographs made sense. I had several ‘Oh so that is how it works’ moments. And I was not the only one.

 

 

Lees meer: National Silk Museum, Hangzhou, China

   

Dammur cloth from Sudan: Continued

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Last week we put a blog online about the visit of Magdalena Woźniak to work on the TRC’s Crowfoot Collection and in particular the Sudanese items (click here). To Magdalena’s great pleasure she found a piece of dammur cloth. Magdalena also wrote a blog about this piece of cloth and its social and economic significance (click here).

Lees meer: Dammur cloth from Sudan: Continued

   

Sudan, Poland, and the TRC

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Gillian Vogelsang-Eastwood, director of the TRC, writes about special attention being paid to the Sudanese /Nubian collection at the TRC:

This week we have been very busy with a special section of the TRC Collection. It all started with a visit for four days by Magdalena Woźniak, a Marie Curie Fellow from the Polish Academy of Sciences. She is an archaeologist working on Nubian textiles and dress, from the north of Sudan, Africa (and also someone who came on the TRC 5-day textile course in 2015).

Lees meer: Sudan, Poland, and the TRC

   

Grace Crowfoot and the Aleppo tarbit (ikat) industry

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Woman's coat from Jordan, 1920's, made of ikat cloth (TRC 2005.0076).

Woman's coat from Jordan, 1920's, made of ikat cloth (TRC 2005.0076).

Among the many items belonging to the English textile archaeologist Grace Crowfoot (1879-1957) now in the TRC Collection Leiden, are a few objects relating to the production of tarbit (ikat) in Aleppo, Syria. In particular there is a letter that describes some of the relevant processes in Aleppo in 1939.

Ikat is a general term for a form of resist dyeing technique, in which the warp and/weft threads are coloured prior to the weaving of the cloth. In Syria it is known as tarbit. There has been a trade in the production of tarbit in Aleppo and surrounding regions for hundreds of years.

In order to produce ikat, groups of threads are being tightly bound together in a specific order to create the desired design. By repeatedly binding, dyeing, rebinding, dyeing, and so forth, it is possible to create a range of patterns. Tarbit from Syria often take the form of silk striped cloth and checked cotton forms. Where a silk or artificial silk warp is used together with cotton wefts, then this type of cloth is known as qutni (‘the cotton ones’).

Lees meer: Grace Crowfoot and the Aleppo tarbit (ikat) industry

   

Dammur cloth from Sudan

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Piece of Dammur cloth from Sudan, 1920s, collected by Grace Crowfoot (TRC 2016.0034).

Piece of Dammur cloth from Sudan, 1920s, collected by Grace Crowfoot (TRC 2016.0034).

Magdalena Woźniak from Poland is studying Nubian textiles. She was recently at the TRC to look at relevant objects that were collected in the 1920s in Sudan by the British textile historian, Grace Crowfoot. Magdalena has written a brief report:

The TRC Collection is very much like Ali Baba’s cave – each box contains hidden treasures! While working for the last few days on Grace Crowfoot’s ethnographic collection from Sudan, I had the immense pleasure of discovering a cotton cloth (TRC 2016.0034) labelled “ ‘Dammur’ woven from ‘Tree’ cotton at Hillet Mahmud, Sennar.”

Why is this so exciting? Because ‘dammur’ was mentioned by European travellers from the 19th century as a substitute for currency. Here is an extract from an account by the Swiss geographer and Orientalist, Johann Ludwig Burckhardt (1784-1817), who visited Sudan in 1813: “The common currency of the country at Berber, and all the way from thence to Sennaar, is Dhourra, and Spanish Dollars; […] Besides the Dhourra, another substitute for currency is the Dammour, a coarse cotton cloth, which is fabricated in the neighbourhood of Sennaar, and principally used by the people of this country for their shirts: one piece of Dammour is exactly sufficient to make one shirt for a full grown man; this is called Tob, or Thob Dammour.” (J. L. Burckhardt, Travels in Nubia, London, 1819:234).

Lees meer: Dammur cloth from Sudan

   

Buttons galore

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Three pairs of buttons, The Netherlands, 1930s (TRC 2018.1497a-f).

Three pairs of buttons, The Netherlands, 1930s (TRC 2018.1497a-f).

As noted in an earlier blog, the last few months at the TRC have been used to sort, photograph and catalogue a collection of 1920’s-1940’s textiles and garments from a family in Wassenaar, which is close to Leiden. The donation also included what appeared to be a small box of buttons, buckles and clasps, which fitted into our work on textiles and fashion.

The buckles and clasps were quickly catalogued and put online, but the buttons presented a totally different challenge. There were hundreds of them! What should we do with them! Keep them all? Make a general collection or something more complicated, namely a reference collection? The latter could then be used by the TRC and others for identifying and describing buttons from all ovet the place and from all periods. Buttons seem so ordinary they are often forgotten or regarded as unimportant. Such a reference collection would take them out of obscurity.

With typical TRC bravado we have decided to make such a reference collection. The button descriptions have been divided into the following: a. Materials used to make the buttons (from bone to plastics); b. General appearance (bell, convex, concave, flat, round, square, etc); c. Parts of a button (and there are an intriguing range of elements for something so small); d. Different types of fastening systems (through, shank, stud, etc); e. Function (buttons, inside buttons, shoe, glove, dress, waistcoat, uniform, etc).

It will be a while before the whole Button Reference System is working in a satisfactory manner, but we feel that this and similar reference collections will make a big difference in creating a more accurate description of what we actually have in the ever growing and quite frankly, quite amazing TRC Collection.

Gillian Vogelsang-Eastwood, Sunday 13th May 2018

 

   

Lace and the TRC

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Detail of a Christening veil from Brussels, Belgium, c.1820 (TRC 2014.0831).

Detail of a Christening veil from Brussels, Belgium, c.1820 (TRC 2014.0831).

TRC volunteer Olga Ieromina and director Gillian Vogelsang-Eastwood are busy at the moment sorting out and cataloguing the TRC’s extensive lace collection. The main theme of the collection is 'technique' and it includes needle laces, bobbin laces, net, knotted (tatting, macramé), looped (knitted and crochet), and embroidered forms, as well as a range of machine made laces (levers, chemical, etc).

During the next few weeks more and more items relating to the production of lace will be made available to view in the TRC Collection online. These include tatting shuttles, hairpin lace frames, a wide selection of crochet hooks from the early twentieth century, as well as various types of lace bobbins and related equipment.

Most of the TRC lace dates to the 19th and 20th centuries, but we hope to increase the range of examples over the next few years to make it into a comprehensive reference collection for the identification of lace.

The weekend of the 8th-9th September 2018 will be dedicated to a two-day course given by Olga on the identification of different types of lace and an explanation of how these are made (click here for more information and registration). This course is designed for people with little knowledge of the various types of lace, but will also be of interest to the experienced.

If you have any examples of old lace that you would like to donate to the TRC, please do not hesitate to get in contact with us at Dit e-mailadres is beschermd tegen spambots. U heeft Javascript nodig om het te kunnen zien. .

Gillian Vogelsang-Eastwood, Thursday 10th May 2018

   

The TRC online exhibitions

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Pair of daily lotus shoes, early 20th century (TRC 2013.0063a-b).

Pair of daily lotus shoes, early 20th century (TRC 2013.0063a-b).

In order to put the TRC Collection in context AND online, we are busy making a series of online exhibitions that reflect the diversity and depth of the 20000 items in the catalogue. So far there are eight exhibitions already completed. They range from Afghan dress, postcards from the First World War, clothing from the ‘Stans’’, feed sack dresses and quilts, to Berlin wool charts and appliqués made by the men and women of the Street of the Tentmakers in Cairo.

Three exhibtions have just recently been finished. The first is an exhibition of Berlin wool charts, recently donated to the TRC collection.

The second is about ancient Greek loom weights in the TRC collection associated with the warp weighted loom. This exhibition is by Shelley Anderson and helps place the archaeological weights in their historical and technological context.

The third online exhibition is about Chinese lotus shoes worn by girls and women at the beginning of the 20th century. The TRC collection includes a variety of different types and sizes of these tiny shoes, as well as items relating to the making of this form of footwear, including patterns, thread, embroidered panels, irons, awls and small wooden lasts. There are regional variations as well as different domestic items, such as leggings, silk bandages, bridal shoes, daily shoes, mourning and funeral shoes, even a pair of overshoes with iron cleets for wearing in rainy and muddy conditions. This exhibition is dedicated to Mrs. Mariet ter Kuile-Portheine, a long time friend and supporter of the TRC.

In addition to the above exhibitions the two Manchester students who are currently at the TRC are working hard on their own online exhibitions. The exhibition by Kate is about urban underwear from the late 19th century until the 1960’s and will included cotton, lace and knitted examples. Kazna is busy with one about Yemeni dress for men and women. She is also thinking about making an exhibition about the different types of face veils.

We are also thinking about a digital exhibition on the decoration of women’s hats in the 1920’s and 1930’s based on a collection of over 700 items given to the TRC by the family of Mrs van Rijckevorsel van Kessel (Wassenaar). She was a textile buyer for the Dutch fashion house of Doorn. The items in this collection were either worn by her or collected during her working life. Mrs van Rijckevorsel van Kessel was a dedicated decorator of hats and the collection include hat bases, a wide range of bands and ribbons, to feathers, beaded panels and buckles.

Sunday, 15th April 2018. Gillian Vogelsang-Eastwood

   

In de ban van de kous

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10 maart 2018: Reconstructie van 17de-eeuwse kousen uit een scheepswrak gevonden voor de kust van Texel. Foto: Museum Huis van Hilde, Castricum.

10 maart 2018: Reconstructie van 17de-eeuwse kousen uit een scheepswrak gevonden voor de kust van Texel. Foto: Museum Huis van Hilde, Castricum.

Het is zaterdag 10 maart: Vandaag heb ik iets bijzonders op het programma staan. Ik mag dit weekeinde, samen met een stuk of honderd anderen, naar een reconstructie van 17e-eeuwse zijden kousen. Er wordt door het Textile Research Centre in Leiden een experiment gedaan met het reproduceren, onderzoeken en het gebruik van deze kousen en ik mag daaraan meedoen.

Met de trein van Groningen naar Castricum, drie keer overstappen, ik verheug me op wat komen gaat. In de laatste trein, Amsterdam Centraal naar Castricum, hoor ik opeens, door het geroezemoes in de coupé heen, iemand "0,7" zeggen. Het is als een afgesproken code-woord. Ik weet dat deze mensen hetzelfde reisdoel hebben als ik en ik sluit me bij hen aan. In Castricum, bij  het archeologisch museum Huis van Hilde, ziet het er al gezellig druk uit. Als we naar binnen mogen staat er een ontvangstcomité op ons te wachten. Bij hen leveren we de kleine, gebreide stukjes zijde in die we bij de vorige bijeenkomst mee hebben gekregen als onderzoeksmateriaal, gebreid op pen 0,7 en pen 1, met verschillende soorten zijde. We krijgen een beschrijving van een deel van de kous waar we dit weekeinde op zullen oefenen. Een zaal met zo’n honderdvrouwen en één man, voornamelijk Nederlands maar de bijeenkomst wordt ook bijgewoond door mensen uit Hongarije, Portugal en Duitsland.

Lees meer: In de ban van de kous

   

About white, blue, grey and pink collar workers

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Clerical collar of an Anglican vicar (TRC 2018.0902).

Clerical collar of an Anglican vicar (TRC 2018.0902).

Last week the TRC was given an Anglican priest’s detachable collar (the so-called ‘dog collar’; TRC 2018.0902), this week we were given a small collection of blue shirt collars. All of which led me to think about the English language idioms ‘white collar worker’ and ‘blue collar worker.’

A ‘white collar worker’ is associated with the detachable shirt collars made of white, highly starched linen or cotton. These were worn by professional and administrative staff, such as managers and accountants in the nineteenth and first half of the twentieth centuries. In contrast, ‘blue collar workers’ were generally manual workers and associated with shirts of blue, brown, etc., which were easier to keep clean. These two terms represent two different social groups and occupations.

Lees meer: About white, blue, grey and pink collar workers

   

"Jewellery: Made by, worn by

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Showcase with feather jewellery from Brazil, in the exhibition "Jewellery: Made by, worn by", in the Volkenkunde Museum, Leiden. Photograph: Shelley Anderson.

Showcase with feather jewellery from Brazil, in the exhibition "Jewellery: Made by, worn by", in the Volkenkunde Museum, Leiden. Photograph: Shelley Anderson.

This is the name of the latest exhibition at the Volkenkunde Museum (Ethnographic Museum) in Leiden. Some 1000 pieces of jewellery are currently on display, out of the Museum‘s collection of thirty thousand pieces. Interestingly, in addition to the pieces themselves, the exhibit focuses on makers of jewellery. There are dozens of videotaped interviews with makers of both modern and traditional jewelry, from Japan, the Netherlands, Yemen, Ghana, India, the USA and elsewhere.

The exhibit is broadly divided into four sections, based on materials. The first section was an eye opener for me. An astonishingly wide variety of materials from nature have been, and still are, used to make jewellery. The necklaces, bracelets, brooches and head gear on display are made from stone, flowers, seeds, shells, bone, feathers, teeth, antler, hair, skin, wood and plant fibres. Many of the objects in this section are from indigenous cultures, like the large opalescent mother-of-pearl pendant, engraved and then rubbed with red ochre, from an Aboriginal nation in Australia, or the jade hei-tiki Maori pendants.

Lees meer: "Jewellery: Made by, worn by

   

The ever growing TRC collection: About lace, velvet, and knitted underwear

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Red velvet bag from nineteenth century Iran (TRC 2002.0115).

Red velvet bag from nineteenth century Iran (TRC 2002.0115).

The last week or so have been very busy at the TRC. We have been sorting out the little depot, removing stands, adding racks, and putting items on the table to be photographed, catalogued and boxed. The lace collection, for example, is being moved from one storage system to another, with a much more suitable drawer system. In the process the lace will be further sorted and the descriptions refined. Thanks to the Pepin Donation, there is also a large number of machine made lace samples to be added to the lace collection. The TRC collection now includes a wide range of hand and machine made forms for people to study and be inspired by.

Speaking of inspiration: We currently have two students (Kate and Kazna) from the Manchester School of Art who are helping, among other things, to photograph and catalogue a collection of 1930’s textiles, accessories and fastenings that came from the aunt of a family now living in Wassenaar. The aunt was a textile buyer for a Dutch fashion house during the 1930’s and many of her items were stored in a flat that had to be emptied. She was also involved in the decoration of hats and had a supply of felt hat bases, satin and velvet hat bands, as well as items to decorate hats including hat pins, hat jewellery, feathers, beaded appliqués and buckles. Do you know the difference between a buckle and a clasp? And what exactly is a frame buckle and do you know that they can be divided into practical and decorative forms? There is always new to learn at the TRC.

Lees meer: The ever growing TRC collection: About lace, velvet, and knitted underwear

   

Painted curtains again, in Assen

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The paintings of hanging curtains, Statenzaal, Drents Muzseum, Assen, The Netherlands (photograph Willem Vogelsang)

The paintings of hanging curtains, Statenzaal, Drents Muzseum, Assen, The Netherlands (photograph Willem Vogelsang)

Late December 2015, I wrote a blog about the paintings of curtains in various ancient monuments in Rome, including the Temple of Romulus at the Forum Romanum, in the Sistine Chapel and in the Santa Maria Maggiore (click here). In the summer of 2016 I saw similarly curtains being painted on a wall in the Chapel of St Gabriel, in Canterbury Cathedral. Last Sunday I saw painted curtains again, but this time at a very unexpected place, namely the beautiful Drents Museum in Assen, capital of the Dutch province of Drenthe.

Painting of curtain, Drents Museum, Assen.

Painting of curtain, Drents Museum, Assen.

On 25th March, the Museum opened a photo exhibition of Dutch military in Kabul, and I had been asked to give a talk about Afghanistan. The Museum is housed in the former Provinciehuis ('Provincial House'). When I was shown the room for the lecture, I was absolutely amazed. It was the so-called Statenzaal, the room where in the past the Staten ('Estates') of Drenthe would meet. This council constitutes the legislative body for the administration of the province.

The room dates to the late nineteenth century and is lavishly decorated, among others with paintings by the Austrian painter Georg Strum. They show the history of the province, from prehistory to the nineteenth century. The building, and its Statenzaal, were designed by Jacobus van Lokhorst, and the actual building was started in 1882. The decorations of the Statenzaal date to this period.

But what attracted my attention in particular were the paintings of curtains, so reminiscent of what I had seen in Rome two years ago. I attach a photograph of the room and one of its walls, decorated with the panels with the painted curtains.

Willem Vogelsang, Saturday 31th March 2018

   

TRC loan to Gorcums Museum

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Bani Tamin woman's dress from Saudi Arabia (TRC 2005.0065).

Bani Tamin woman's dress from Saudi Arabia (TRC 2005.0065).

The Gorcums Museum in Gorcum, Gelderland, has organised a special exhibition on embroidery, with the title ‘Voor de draad ermee’. The exhibition can be seen from 7th April until 9th September this year. The TRC is very pleased to contribute to this event with the loan of 34 beautiful and spectacular pieces of embroidery from the TRC Collection. The embroideries are worked on dresses, headwear, footwear and panels that originate from Afghanistan, China, Egypt, India, Iran, Morocco, Oman, Palestine, Saudi Arabia, Tunisia, Vietnam and Yemen.

Highlights from the TRC loan are the minuscule lotus shoes from China, a large dress from Saudi Arabia, and the Tunisian Raf-Raf wedding outfit. The exhibition has been curated by Linda Hanssen. For the exhibition website, click here.

Gillian Vogelsang, 29th March 2018

   

Manchester interns at the TRC

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Kate and Kazna at the TRC, March 2018

Kate and Kazna at the TRC, March 2018

It’s always fun to volunteer at the TRC, but today was particularly so. That’s because I got to meet two new women who are also passionate about textiles: Kazna Asker and Kate Askham. Both are 21 years old and both are second year fashion students at the Manchester School of Art (part of the Manchester Metropolitan University) in the UK. They will be at the TRC for two months in order to learn the ins and outs of managing a textile and dress collection, and especially to help photograph and catalogue the TRC’s growing collection.

“People are the most important thing to me. That’s what textiles should be about,” says Kate. She sees working at the TRC as a way to gain inspiration for modern design and information on the historical roles textiles have played in the past. “I like the stories that come with textiles and how much that tells you about people and how societies were at specific times.” Next year she will have to design six different outfits for her courses, so she is looking forward to bettering “my knowledge of historical pieces, of shapes and patterns”.

Lees meer: Manchester interns at the TRC

   

TRC and the Fowler Museum, Los Angeles

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Last summer (2017) Gillian Vogelsang-Eastwood, director of the TRC Leiden, spent ten days in Los Angeles working at the Fowler Museum, on the campus of the University of California, Los Angeles. In particular she was working on a collection of early 20th century Syrian garments, including abayas, head coverings and çarsafs. Some of the garments are the most beautiful examples of silk tapestry weaving.

The TRC has just been informed that it has been officially asked by the Fowler Museum to curate an exhibition about the Syrian garments and to write a catalogue to both the collection and the exhibition. All being well the exhibition will open in Los Angeles in February 2019. More details will be published in due course.

   

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Donations

 
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Financiële giften

The TRC is afhankelijk van project-financiering en privé-donaties. Al ons werk wordt verricht door vrijwilligers. Ter ondersteuning van de vele activiteiten van het TRC vragen wij U daarom om financiële steunGiften kunt U overmaken op bankrekeningnummer NL39 INGB 000 298 2359, t.n.v. Textile Research Centre, Leiden. Omdat het TRC officieel is erkend als een Algemeen Nut Beogende Instelling (ANBI), en daarbij ook nog als een Culturele Instelling, zijn particuliere giften voor 125% aftrekbaar van de belasting, en voor bedrijven zelfs voor 150%. Voor meer informatie, klik hierVoor het overmaken van giften, kunt U ook gebruik maken van Paypal: