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This mini-exhibition at the TRC is curated by Minsook Kang, who is an intern at the TRC. She is a visual artist and researcher working across textiles, moving images, installations and publications. She explores stories, memory, and embodied knowledge through forms of care, attention, and material engagement. In the summer of 2026 she visited the island of Buton in Sulawesi Province, Indonesia.

Producing sarongs on the island of Buton. Photograph courtesy Minsook Kang.Producing sarongs on the island of Buton. Photograph courtesy Minsook Kang.

A Language of the Hands - Embodied Knowledge and Transmitted Memory in Indonesian Buton Sarongs explores the Buton sarong as a form of embodied and transmitted knowledge.

Drawing on TRC collections and fieldwork in Baubau, the island's capital, the exhibition traces how patterns, motifs, weaving practices, and memories that are  transmitted across generations through speech, observation, and the hands. As a strong oral tradition culture, the sarong emerges as a living textile language shaped by everyday life, nature, and generations of makers.

A Language of the Hands can be visited until 30 Oct 2026. The TRC is open every weekday from 10.00 to 15.00.

Tokyo-based textile designer Hana Mitsui. Photograph: www.hanatextiledesign.comTokyo-based textile designer Hana Mitsui. Photograph: www.hanatextiledesign.com(Flora Kovacs-Wester, TRC Fellow, 12 October 2026) As part of my research into Japanese kasuri weaving (see my earlier TRC blog post), I recently had the opportunity to interview Japanese textile designer Hana Mitsui about her practice and her approach to traditional Japanese textiles.

Drawing on her experience with leading fashion and textile houses in Japan and internationally, Mitsui combines traditional weaving techniques with new approaches to materials, patterns and production. During our conversation, Mitsui generously offered to donate a selection of samples from her experiments with Kurume kasuri to the TRC. The donated samples make a meaningful addition to TRC’s existing collection of traditional kasuri textiles and enable us to expand the ways in which Kurume kasuri can be understood and researched within the TRC collection.

Mitsui’s ability to see new possibilities in fabric caught the attention of the fashion world early in her career. While studying at the Royal College of Art in London, Alexander McQueen selected her graduation textile for its Spring/Summer 2015 Paris collection.

Het TRC werkt op projectbasis en met financiële donaties uit officiële, commerciële en particuliere bronnen. De financiering wordt gebruikt voor speciale projecten, het in stand houden van de collectie, het opzetten van tentoonstellingen en algemene lopende kosten. Door de jaren heen hebben we veel Vrienden gehad die het werk van het TRC ondersteunen met donaties, zowel financieel als materiaal voor de collectie.

In de afgelopen 30 jaar is de TRC-collectie gegroeid van veertig items tot meer dan 42.000 gecatalogiseerde items. Sinds 2009 is de collectie ondergebracht bij Hogewoerd 164 in Leiden. De opening van deze site maakte ook de uitbreiding van educatieve activiteiten en tentoonstellingen van de groeiende collectie mogelijk. We bevinden ons opnieuw op een kritiek moment in onze groei. We hebben bijna geen ruimte meer voor de collectie, werkruimte en klaslokaal. We hebben onze vrienden nog meer nodig. Tegelijkertijd proberen we de groeiende collectie en het educatieve programma onder te brengen in onze huidige ruimte EN zijn we op zoek naar een nieuwe ruimte. We zijn voorzichtig in deze moeilijke economische tijden, maar hebben goede hoop in de wetenschap dat een nieuwe ruimte ons vermogen om zelfvoorzienend te zijn zal vergroten, omdat we meer workshops kunnen bieden en efficiënter kunnen werken.

Word een deel van onze toekomst en word lid van ons ondersteuningsnetwerk door Vriend van de TRC te worden. Om onze waardering te tonen ontvangt u 10% korting op artikelen in onze winkel, lezingen, cursussen (m.u.v de intensieve 5-daagse cursussen) en workshops. Daarnaast maken alle leden vier keer per jaar kans op een tombolaprijs.

Jaarlijkse bijdrage is  €75; een levenslang lidmaatschap is €500.

Om vriend te worden van het TRC, neemt u alstublieft contact op met ons op het volgende adres: Dit e-mailadres wordt beveiligd tegen spambots. JavaScript dient ingeschakeld te zijn om het te bekijken. met als onderwerp: Lidmaatschap Vrienden van het TRC.

Fiscaal voordeel van doneren aan TRC Leiden

Stichting Textile Research Centre is officieel erkend als een non-profit organisatie, een "Culturele ANBI" (Algemeen Nut Beogende Instelling) waarbij giften niet onderworpen zijn aan schenkings- of successierechten en fiscaal aftrekbaar zijn. Uw financiële bijdrage aan de TRC als Vriend is aftrekbaar voor de jaarlijkse belastingaangifte, tot 125% van het bedrag voor particulieren en tot 150% voor bedrijven. U ontvangt hiervoor een ontvangstbevestiging van uw bijdrage aan het TRC. Daarna hoeft u alleen nog maar het bedrag van uw schenking aan te geven in uw jaarlijkse belastingaangifte en het vakje “Culturele ANBI” aan te vinken.

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(Gillian Vogelsang, 5 October 2026) A few days ago, Danni Wang, who is of Chinese origin and lives in The Netherlands, came to the TRC with two of her friends, all of whom were dressed in Hanfu. They looked so different and ‘exotic’. And yes, that was the whole point. Hanfu has become more and more popular over the last twenty or so years with many Chinese, both in China itself and among the diaspora, as well as others who love Chinese history and culture.

Our guests in Hanfu clothing at the TRC, 5 October 2026.Our guests in Hanfu clothing at the TRC, 5 October 2026.

(Emilie Lambert, collection manager, TRC) The TRC houses over 300 pairs of gloves, mittens and gauntlets. They are made of leather, wool or silk, in lace or with net work. They may be knitted, and be practical or purely decorative. The sheer variety, both technically and culturally, is fascinating (Fig. 1). Some of the gloves are highlighted in previous blogs, such as one about Scottish examples, written by Hanke van Prooije in 2025.

Fig 1: Assortment of gloves in the TRC collection showing the wide variety in materials, shape, and decoration used.Fig 1: Assortment of gloves in the TRC collection showing the wide variety in materials, shape, and decoration used.

However, all the items in the collection, which originate from just about everywhere, from Romania to Australia and  Congo, are later than the early twentieth century. Curious about the history of gloves, I browsed the TRC library and quickly found a book (2015b) by Annemarieke Willemsen [current curator of medieval collections at the RMO in Leiden] on medieval gloves, mittens and gauntlets, through which I discovered many intriguing avenues for discussion.

Gloves, mittens & gauntlets (Fig. 2)

It seems that mittens (Dutch: want), whereby all the fingers are enclosed in a single pocket but with a separate thumb, may have preceded the glove with its individual fingers (Dutch: handschoen), perhaps because its construction is simpler. However, both forms have been consistently worn throughout the last few centuries. There were also split mittens, whereby the third and fourth fingers are separated. These were commonly worn in the medieval period by shepherds, who needed slightly greater mobility for their fingers (Willemsen 2015a, p. 19).

The distinction between a glove and another type of handwear, the gauntlet, is primarily one of function. A gauntlet is a type of glove made from heavy or protective material, such as metal or thick, padded leather, with the aim of protecting the hands from injury. While gauntlets are often associated with metal armour used in combat, the term can also extend to heavy-duty gloves used in metalworking, motorcycling or animal handling. In other words, every gauntlet is a glove, but not every glove is a gauntlet.

Protection from the cold is one of the most familiar functions of gloves and mittens. Knitted, needlework, woollen, and cloth examples were often intended to provide warmth, sometimes with additional fur lining. Gloves have also been used as protective equipment in various sports and occupations, comparable to gauntlets. Medical sources even adsvise the use of  gloves made from fish or chicken skin to protect infected or damaged skin during the night (Willemsen 2015a, p. 13).

Not all gloves, however, were primarily practical or protective. Delicate gloves, as said, could function as fashionable accessories and status symbols, as seen in intricate lace or embroidered examples. Gloves could also be very symbolic, such as those of a monarch or priest.

Fig 2: Left to right: a pair of gloves (TRC 2025.0641a-b), mittens (TRC 2007.0762a-b), and gauntlets (TRC 2025.0905a-b)Fig 2: Left to right: a pair of gloves (TRC 2025.0641a-b), mittens (TRC 2007.0762a-b), and gauntlets (TRC 2025.0905a-b)

Early history

Hand coverings were used for many centuries, probably going back to prehistory. They would have been woven with plant fibres or sewn from leather. Gloves are frequently mentioned  in Classical Antiquity, but hard evidence of their use before then is scarce, particularly as they were made of degradable materials.

Many sources note the earliest archaeological example of a surviving glove comes from the tomb of Tutankhamun. He would have worn these ceremonial linen gloves sometime before his death in 1323 BC (Redwood, p. 7). This draws an interesting link to the TRC as our director, Dr Gillian Vogelsang-Eastwood, extensively studied the Tutankhamun textile finds (1999).

Willemsen’s book also goes into detail about archaeological finds in The Netherlands. The oldest example - a thumbless woollen and knitted mitten from Dorestad (near Nijmegen) dates to 800 AD (Fig. 3). Thanks to the Dutch wetlands, many more woollen and leather gloves were preserved through the centuries, many being found in Amsterdam and Dordrecht. 

Fig. 3: The oldest glove found in the Netherlands, dating to ca. AD 800 (Willemsen 2015a, p. 5).Fig. 3: The oldest glove found in the Netherlands, dating to ca. AD 800 (Willemsen 2015a, p. 5).

Various fashions

Gloves were conveyors of fashion and status. It would be wrong not to mention the elaborately decorated gloves in prestigious, 17th-century royal fashion with densely embroidered cuffs, made with silver, gold, and coloured thread. Such gloves would have cost a small fortune.

One style that really stood out to me was that of artificial finger-lengthening. During the reign of Queen Elizabeth I, in late 16th-century Britain, it was fashionable to elongate a glove’s fingertips for a centimetre past the reach of each finger to create the illusion of longer, slimmer fingers (Fig. 4; Willemsen 2015a, p. 14).

Fig. 4: Elongated fingertips on 17th-century glove (Willemsen, p.15).Fig. 4: Elongated fingertips on 17th-century glove (Willemsen, p.15).

Production

Leather mittens and gloves were made to fit the individual. They were usually constructed by cutting a ‘double glove’ – two handprints conjoined to avoid the need of sewing one seam. Then a separate thumb was added (Fig. 5). Sheep and goat skins were common. Deerskin was used by the wealthy (Willemsen 2015a, p.12).

Gloves were for a long while produced in small workshops, specialised only in glove making, or in combination with other fine leatherwork. Production then moved into large factories, although throughout the 19th century the stitching of gloves was outsourced to women (gloveresses) and children who worked from home to gain extra income. The sewing machine drastically changed the industry, and most glove production nowadays is completely carried out in factories. They are also made in only a few sizes, and it is now difficult to find someone to make personalized gloves.

Most gloves were everyday items and they would get worn, so it is not uncommon for them to be patched and repaired repeatedly. To counteract this, Icelandic fishermen would make a mitten with two thumbs - so one wears them on both hands or back-to-front (Fig. 5).

Fig.  5: Glove sewing pattern showing the double-hand construction with separate thumb piece (https://www.18thcenturynotebook.com/mens-leather-gloves)Fig. 5: Glove sewing pattern showing the double-hand construction with separate thumb piece (https://www.18thcenturynotebook.com/mens-leather-gloves)

Symbolism

There is also a whole world of symbolism when it comes to gloves, and this aspect differs greatly throughout cultures and time. Some general themes are still familiar to us and some are completely obscure. In many circumstances the gloves provide a physical and symbolic barrier between an individual and the action they take - think of a judge, or executioner (Willemsen 2015a, p. 30). In religion too, liturgical gloves indicate the sacred power in the hands rather than those of the preacher (Willemsen 2015, p. 32). In courting, one removes gloves and presents a bare hand to kiss in greeting, and keeping gloves on would be seen as a sign of hostility. Additionally,“a woman dropping her glove could be understood as a woman offering her body” (Willemsen 2015, p.15). In combat too, throwing the gauntlet would mean picking a fight. The variation here really shows how aspects of dress have many cultural effects.

Conclusion

I thoroughly enjoyed this exploration of gloves and their history. And as I was talking about it, I was enthusiastically handed a handful of newly donated gloves to add to the catalogue!

Sources

  • Redwood, Mike (2016), Gloves and Glove-making. London, Bloomsbury.
  • Vogelsang-Eastwood, Gillian (1999). Tutankhamun's Wardrobe. Garments from the Tomb of Tutankhamun. Rotterdam: Barjesteh van Waalwijk van Doorn
  • Willemsen, Annemarieke (2015a), 'The Geoff Egan Memorial Lecture 2013. Taking up the glove: finds, uses and meanings of gloves, mittens and gauntlets in western Europe, c. AD 1300–1700,' Post-Medieval Archaeology, 49:1, 1-36.
  • Willemsen, Annemarieke  (2015b), Van Hand tot Hand. Handschoenen en Wanten in de Nederlanden vóór 1700. Leiden: National Museum of Antiquities.

Birgitta de Leeuw wrote an article about the TRC for the journal Weven (No. 4, 2026, pp. 16-18). She is a Dutch creative facilitator, consultant, author, and visual artist focusing on both personal growth and societal and organizational change. Her work lies at the intersection of social innovation and creative expression.

Her article about the TRC appeared in the official and best-known trade magazine for weavers in The Netherlands, published by the organisation Weefnetwerk. It is published four times a year, with each issue covering a specific theme.

A PdF file of the article can be downloaded here.

Moroccan kaftan made from a Japanese obi (sash), 1950s (TRC 2001.0074).Moroccan kaftan made from a Japanese obi (sash), 1950s (TRC 2001.0074).The TRC collection of textiles, clothing and accessories from around the world was started in 1997 with 43 pieces from Afghanistan, Egypt and Syria. Since then it has grown to over 56,000 items (26 September 2026), almost all of them have been catalogued and most of them photographed. All information is accessible on the TRC website (click here for the online catalogue).

The items come from diverse backgrounds with respect to time and place. Some of the items have been purchased, but the vast majority has been collected during fieldwork or very kindly donated by various institutions and private donors. The TRC  is a good example of Citizen Culture and Heritage at work!

The collection has no boundaries with respect to geography or time. It ranges from Afghan embroidery, German Lederhosen, Indonesian batiks, historical textiles from Leiden, to delicate silks from Renaissance Italy and spinning and weaving equipment from the Andes.

Length of cloth made from strips (15 cm) of woven cotton, dyed brown and then painted with various motifs. The fringes are decorated with white cowrie shells. Mali? (TRC 2026.2254).Length of cloth made from strips (15 cm) of woven cotton, dyed brown and then painted with various motifs. The fringes are decorated with white cowrie shells. Mali? (TRC 2026.2254).(Gillian Vogelsang, 28 September 2026) It is noticeable, since we moved to our new home on the Boerhaavelaan, that we have been increasing our international links and connections. We are welcoming more and more visitors from all over the world – just the other day we had a guest from China wanting to know what we did, while upstairs a researcher from Indonesia was looking at part of our Indonesian batik collection. We have also recently had several visitors from Iran as well as the USA and Canada, not to mention home-grown visitors from The Netherlands. We also currently have interns and student volunteers from Belgium, Lithuania, and Korea (she is studying Indonesian textiles) all adding to the international mix at the TRC.

Textile fellowships

Thanks to the generous help of the Gieskes-Strijbis Foundation, Amsterdam, the TRC has a three-year fellowship programme for the study of textiles and dress, based on the TRC Collection. The first fellow, Flora Kovacs Wester, is Hungarian, lives in The Netherlands and carries out research on  kasuri, a Japanese resist-dyeing technique. Earlier this year we announced a second round of fellowships and there were 39 applicants from literally all over the world. We appointed two junior fellows and one senior fellow, who will be working on different aspects of the TRC Collection. We hope to welcome them within a few weeks. These fellowships are certainly causing ripples in the textile world. The third round of fellowships will be announced shortly and we expect even more interest in this fellowship programme.

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Contact

Boerhaavelaan 6
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Tel. +31 (0)71 5134144 (kantooruren)  
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Bankrekening

NL39 INGB 0002 9823 59, t.a.v. Stichting Textile Research Centre.

Financiële giften

Het 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 steun:

Giften kunt U overmaken op bankrekeningnummer (IBAN) NL39 INGB 000 298 2359, t.n.v. Stichting Textile Research Centre. BIC code is: INGBNL2A

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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 hier.