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Matching pair of strapwork panels, European, mid- to late 16th century (TRC 2024.2934a-b).We have just had a wow moment at the TRC. A friend of mine, Marjolijn van Scherpenzeel, came to the TRC with several boxes of Catholic liturgical garments, which she donated to the TRC. They included some chasubles and dalmatics. Most of the garments were made from 18th century silks, and there are a couple that appear to be older. More about these pieces in a forthcoming blog!

In addition, there were some Chinese and European embroideries, including two long, narrow and matching panels. They looked familiar and I thought, no it was not possible, yes it is, no it’s not……

On closer examination, I could see that the panels (TRC 2024.2934a-b) in question are examples of strapwork (known as rolwerk in Dutch).

They are made with a plain, dark red, silk velvet ground, with blue- and cream-coloured silk shapes and straps, which have been applied (appliqué) to the ground and then outlined with two different types of silk cords (passementerie), which were couched down onto the velvet. All the stitching is hand done.

Emilie Lambert, TRC intern, Leiden University (Archaeology), 15 October 2024

This summer, the TRC received a bag filled with some 60 or so odd metal buttons. With no clear time or place of origin they are items without a story...or are they? As an archaeology student who is used to having to read between the lines and fill contextual gaps, I was determined to retrieve as much information as I could.

These buttons can now be found in the TRC online catalogue, and within that, in the reference collection on fastenings. Even without the garments they were worn with, the type, shape, material and decoration of fastenings are a valuable component of dress and identity.

A metal button made of a thin, flat sheet with a domed centre and border decoration, with a small cone shank. The Netherlands, 19th century (TRC 2024.2592).

Side view showing the shank (TRC 2024.2592).

As they were being catalogued, I noticed there are many different shank attachment types. A quick literature review reveals many of these styles were first used in the 19th century. TRC 2024.2592 is an example of a flat sheet button with a small cone shank. Others, particularly those with a key (or U-cast) shank (TRC 2024.2589), are not known before the 20th century.

The final activity for the Fonds voor Cultuurparticipatie project: 'Engaging textile heritage communities through citizen culture', was kicked off by the opening of this mini-exhibition with the title 'Verbinding' (Connection), on Tuesday, 1 October 2024.

This comes after 18 months of participatory activities with diaspora community members at the TRC Leiden. In April 2023, we started inviting members of various diaspora communities belonging to cultural organisations and community centres primarily in Leiden, but also from Amsterdam and Capelle a/d IJssel.

Mini TRC exhibition: Verbinding

For this last activity, multimedia artist Ramia Suleiman joined the project team to help with developing the theme and concept of the mini-exhibition, and outreach for participants. This was more than a presentation of culture; it was a presentation of the participants' own emotional connection through textiles. In Ghada Abhari and Herra Pahlasari we found a great team who were committed to work on every aspect of their exhibition.

Guests at the opening of the TRC mini exhibition "Verbinding', 1 October 2024. Photograph by Maria Linkogle.

Shisha embroiderer Geetaben Meriya, from Gujarat’s Kutch region, helps participants at the TRC’s recent masterclass in shisha work. Photo by Shelley AndersonOne stitch, then another stitch....I wonder what this stitch is called? Somebody said a buttonhole stitch....oh, no, I’ve forgotten how many stitches I’ve done! These were some of the thoughts running through my head at the TRC’s masterclass in shisha, on 25th September.

Shisha is embroidering with mirrors, or the stitching of other shiny substances onto garments—clothes (especially clothing for women and girls), but also wall hangings and other decorations for the home. And for small cloth hammocks for babies, as we were shown in a slide presentation at the beginning of the masterclass, organised by the Amsterdam-based Textiel Factorij, which organises exchanges between Indian and Dutch crafts people.

Our teacher for the class, embroideress Geetaben Meriya, was involved with making the beautiful baby’s cradle. She’s been doing shisha embroidery since she was 14, and lives in the village of Sumrasar, in Gujarat’s Kutch region, in western India.

A participant photographs a green front piece of a dress (TRC 2011.0036) on top of a red shawl from Tunisia (early 20th century) (TRC 2018.0276). Photograph by Christina de Korte.by Maria Linkogle and Christina de Korte, 25 September 2024. 

“It was a beautiful day!” This is how the study day on embroidery from the Middle East and North Africa on 20 September 2024 was described by one of the participants and everyone present agreed.

There group of participants included two TRC volunteers, with the TRC director Dr. Gillian Vogelsang-Eastwood presenting. The size of the group made it possible to have a tailored experience in the realm of Middle Eastern and North African embroidery.

“How many different embroidery styles are there in the Middle East and North Africa?”

This was the first question posed. The answer: around 150 different embroidery types have been identified. We saw in an extensive presentation photographs of different stitches, including types of couching, chain stitch, cross stitch, satin stitch, but also of different patterns, colour combinations, materials (such as metal embroidery). In addition to the textiles and the embroidery techniques, we learned about the cultural entanglements and (historical) context in which some pieces were made and what to take into consideration when studying textiles from this area. After this introductory lecture, we had a lovely lunch and we had the opportunity to discuss what we had seen and heard.

Photograph showing remains of one of the sleeve wings associated with Tutankhamun, and the reconstruction (right), by Gillian Vogelsang and Martin Hense, of the decorative pattern.

by Ana Garcia-Casillas, 19 September 2024. Chair of the Educational Committee, Itiwana, Leiden University

How do traditional museums treat and present objects? What is the origin of the distinction between art and craftsmanship? Why have we in the last century moved away from teaching technical skills to children? These are some of the questions which were discussed during the visit of Itiwana (Leiden University's Study Association for Anthropology) to the Textile Research Centre in Leiden.

Itiwana students of anthropology at Leiden University visit the TRC, 18 September 2024.

A fictitious image of Ned Ludd, leader of the Luddites. The anti-Luddite print is dated to 1812. It shows Ned Ludd in women's clothing, indicating his opposition to 'progress'.In a blog of a few days ago I talked about the Brave New World conference, with the theme 'Indifference,' which I attended last week here in Leiden and where I gave a short presentation on the issue of 'indfference to textiles.'Since then I have been thinking about one of the questions I was asked after my talk, namely about the role of textile machines and the future of textiles and what would I do.

Oh, oh, oh, I remember thinking, how do I answer this question without sounding too much like a Luddite! And then later on I wondered whether the audience realised who and what is a Luddite?

I first learnt about Luddites in a (British) school history class when I was a young teenager (just a few years ago), and those people had stuck in the back of my mind. Basically, they were small-scale weavers in England during the early 19th century, who went around destroying the newfangled spinning and weaving machines that by that time were quickly taking away their livelihoods. They were named after a fictional weaver called Ned Ludd.

Napoleon in his imperial clothing, at his coronation in 1804. Who says that clothing and textiles do not matter?I have just attended part of a two-day conference at Naturalis (the massive, natural history museum) here in Leiden, on the theme of indifference. The conference is part of the Brave New World Art & Science series that has been running for nearly ten years.

Each year they concentrate on different themes, such as the ‘Future of Attention' (2023), in order so see how “the worlds of culture, philosophy, science, technology and storytelling will collide”.

As noted, this year’s theme was Indifference, and it covered both theoretic, philosophical, artistic, and actual themes, from empathy, medical issues, 3-D printing of cultural artifacts, to disability and handicap accessibility (or not).

Every man's dream of domestic bliss: Man smoking his pipe (while dozing), woman darning (his?) socks. Painting by Wybrand Hendriks (d.1831), Frans Halsmuseum, Haarlem.My talk of twenty minutes was about indifference to textiles, and concentrated on how textiles are an essential item to everyday life, yet often forgotten – in order to emphasise this point I asked the audience to remove their textiles, ie clothing, a request that got a mixed response! But I hope it brought home the simple fact that we all wear textiles and interact with textiles on a regular and daily basis. It's amazing to regard the number of people who ‘just’ wear clothing without thinking about the textiles what they have on and what it took to make those ‘simple’ pieces of cloth.

The themes in my talk ranged from Tutankhamun and textiles, Napoleon and his coronation textiles, the concept that textiles were ‘only’ a woman’s subject, and that many men are (or think they are) bored by the subject ( generations of farmers, spinners, dyers, weavers, printers and tailors, not to mention male embroiderers and knitters should give a collective sigh at this moment), and historic, international links on a commercial and trade level via textiles.