Fig. 1. Copper and enamel Amsterdam School-style panel, by Marie Kuyken. Photograph: S. Anderson.A recent visit to the Museum Het Schip in Amsterdam sent me scurrying to the TRC ‘s on-line catalogue. Het Schip, in the Amsterdam-West neighbourhood, is a historic, architectural gem in glowing red brickwork. Designed in 1919 by Michel de Klerk, this social housing complex included 102 flats, a post office and a school—made expressly for impoverished, working-class families. It pioneered a new expressionist style of architecture called the Amsterdamse School.

The Amsterdam School’s attention to detail encompassed not just buildings, but also the furniture and lighting inside the buildings—including textile components, from the curtains and rugs, to wall paper and upholstery. Some of the textile designers of this style are the subject of Het Schip’s latest exhibition: “Unseen Talent: Women of the Amsterdam School.”

The Dutch designer Marie Kuyken (1898-1988) was one of the Amsterdam School pioneers. Her father set up an engraving and art studio in Haarlem, where he developed his own style of cloisonné, based on much older Byzantine enamelling techniques.

Marie started working as a designer in his studio as soon as she graduated. Her expressionist style won high praise from critics. One critic wrote in 1918 that in her enamel and copper decorative panels “glows the precious inlay in a beautiful, enchanting splendour of colours” (Fig. 1).

Orenburg is a province in the southeastern part of Russia, along the slopes of the Ural mountains, and close to the borders with Kazakhstan. This is where Europe meets Asia. In this region, at least since the 17th century, there is a strong tradition of lace shawl knitting. This would make the tradition older than Shetland knitting.

Detail of a 'Warm' Orenburg knitted lace shawl. Russia, 20th century (TRC 2025.0751).The shawls are knitted using goat's under hair, or down, from locally bred animals. The yarns are traditionally hand spun, two-ply at a slightly higher twist to create crisp patterns. The fibres of these goats are extremely thin, only 17 microns. This is four times thinner than human hair, and 1.5 times finer compared to angora goats.

Fig. 1. Finishing the move: Group photograph with the lads (and Gillian), 10 April. Photograph by Emilie Lambert.Another busy week at the TRC! The painters, electricians, curtain and security people have finished their work. The builders are doing the last few jobs and making plans for what needs to be done later in the year, especially on the outside.

The last deliveries for now by the removal company have just taken place (Fig. 1) and then, hopefully, there will be a period of a little peace and quiet, so we have time to get used to the building and see and discuss what needs to be done.

We are talking with Stichting Monumentenbezit (the new owners of B6) and others, for example, about having an annex in the garden for the permanent storage of the TRC Collection. Leiden Council and Monumentenbezit have already given their permission for the annex to be built, and now we have to find the funding. As you can imagine, there is much to think about and do on this subject matter.

We have also been discussing what should be done with the 150-200 year old Amsterdam waffle-house (or was it for pancakes?), which since the 1920s has been a feature of what is now the TRC garden, but originates from a bridge in Amsterdam (close to the current Koningsplein). It is a lovely wooden building, but in a poor condition. The romantic in me can see summer events, including lectures, buffet dinners, workshops on fibre plants and natural dyeing, etc. In addition, I know someone close to me who wants to write his memoirs there. But again this is a subject for later thoughts and discussions!

Although we will not officially reopen the TRC to the public until Monday, the 4h May, we are already welcoming individuals and groups visitors at our new premises at Boerhaavelaan 6, as well as starting a busy programme of workshops, study days and lectures. And of course there was the recent book presentation with the Mayor of Leiden. 

Taiwanese delegation visiting the TRC, with Gillian Vogelsang in their midst. They are standing in the garden of Boerhaavelaan 6. In the background is the garden pavilion.

It has been quite a week, as we were preparing the TRC’s new home on the Boerhaavelaan for a ‘soft opening’ last Thursday (26th March 2026). It took the form of a book presentation with a guest-of-honour, namely Peter Heijkoop, the Mayor of Leiden. The book in question is the Atlas van de Borduurkunst. Een wereldreis langs erfgoed en stijlen (WBooks, 2026), which is the Dutch version of the Atlas of World Embroidery. A global exploration of heritage and styles (Princeton University Press, 2026). The author is Dr Gillian Vogelsang-Eastwood, Director of the TRC.

The Mayor, Peter Heijkoop, receives a copy of the Atlas from the author. Copyright Joost Kolkman. 

Fig. 1. Hand embroidery by Maqadeer, a young student at YENOF’s schooling programme. Her work is based on a head covering illustrated in Fig.4.

Over the past few months, a project dedicated to preserving Yemen’s embroidery heritage has been underway. The initiative, a collaboration between YENOF (Yemen Noor Foundation), IL- CI (Improving Lives through Cultural Initiatives) and the ALIPH Foundation, has brought together twenty-five women, each studying twenty-five traditional dresses from different regions of the country.

A new TRC donation: white cotton nanduti lace dolly, c. 2010, Paraguay. Photo: Shelley Anderson.The TRC has two recent donations of a very special type of lace from the South American country of Paraguay. This lace has its own National Nanduti Day, celebrated on the second Sunday in October. On that day the city of Itaugua, considered the home of nanduti lace, organises a festival whereby women wear traditional blouses and skirts decorated with nanduti lace.

Nanduti means “spider web” in Paraguay’s indigenous language, Guarani. There are many folktales about nanduti’s origins. These usually involve a young woman who discovers her dead lover’s body, covered in a shimmering cloth. Looking more closely, she realises the cloth is actually made of spider webs, and she vows to make him an equally beautiful shroud.

Less poetically, it’s believed that 17th-century Spanish colonisers brought the technique of lace making to Paraguay, where the indigenous population made it their own. Jesuit missionaries, who prized lace for their ecclesiastical textiles, are believed to have spread lace making via their missions. Indeed, one of the earliest references to indigenous Paraguayan women’s skill in needlework is from a 1610 Jesuit document, which mentions decorated towels.

Technically, nanduti lace is related to Tenerife lace (sometimes spelled Teneriffe, and known as Sol lace, or Roseta Canario or Calado Canario), which originated in the Canary Islands. It is a type of needle lace known for its round, medallion-shaped motifs, comparable to nanduti lace forms. The TRC has several examples in its collecion, including a stunning, late 19th-century lace collar (see below; TRC 2020.0462).

Four blue and white nanduti lace coasters, cotton, 2025, Paraguay. Photo: Shelley Anderson.

A recent controversy shows once again the deep link between dress and identity. Some weeks ago the President of Ghana, John Dramani Mahama, paid a state visit to Zambia (Fig. 1). He was warmly greeted at the airport by Zambia's President Hakainde Hichilema, who was wearing a Western business suit.

President Mahama was wearing a traditional Ghanaian tunic called a fugu. According to a BBC report, some Zambians began mocking the garment on social media, calling it a “blouse”, and wondering why a head of state would wear such a garment on a formal occasion.

Fig. 1. President of Ghana, John Dramani Mahama, wearing a fugu when arriving in Zambia for a state visit, photographed together with his wife. Courtesy The Office of the Presidency, Republic of Ghana.