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The imaginary portrait of Charlemagne, by Albrecht Dürer (1471-1528), Germanisches Nationalmuseum, Nuremberg.Willem and I are on our travels again, this time to southern Germany. We spent yesterday (Thursday) in Nuremberg, notably at the Germanisches Nationalmuseum. They have a wonderful collection of medieval and later sculptures and paintings. Among them is Albrecht Dürer's imaginary painting of Charlemagne, wearing the regalia of the Holy (German) Roman Emperor. He is thus seen wearing the famous mantle of Roger II of Sicily from the early twelfth century, together with the imperial gloves, the beautifully decorated stola and the red (?) tunic with the imperial eagles. All of these items are, so it would appear, now in the Kaiserliche Schatzkammer in Vienna, where we were so fortunate to see them two years ago. Seeing the painting by Dürer and realising that it most probably shows centuries-old imperial garments that are actually still extant and can still be admired, is a real confrontation with history. 

In addition, the museum has a special, very large gallery dedicated to German (and some Dutch) urban and regional dress, including male and female underwear. You don't see that very often in museums! Finally someone who has taken this part of dress seriously. Also lots of sports clothes, headgear and footwear. Well worth a visit to Nuremberg to see the gallery. In addition, according to the museum's website, they have an active team working on cataloguing and making available their extensive textile, clothing and jewellery collection. It is a site worth watching at regular intervals to see what is happening.

Today, Friday 9th June, is being spent in Regensburg, about one hour by (fast) train to the south of Nuremberg. The cathedral is a great, Gothic building with a small museum filled with liturgical garments dating from the eleventh century onwards, including many items of embroidery, notably a bishop's mitre and gloves, chasubles, dalmaticas as well as copes and cope hoods. There is a fifteenth century cope, for example, that has much earlier (tenth century) gold thread embroidery. There is alse a chasuble that has an early gold thread orphrey, whereby the background is worked in swirls of couched gold. It is said to come from Regensburg itself and is certainly very different in appearance and techniques from its northern counterparts.

This afternoon, while Willem has some University business to attend to, is being spent looking at a more modern tradition, namely Bavarian regional dress. There are at least three shops in walking distance of the cathedral that sell regional dress for men and women, and it remains a living tradition. This morning we saw a wedding party near the cathedral and several women were wearing the Dirndle outfit (blouse, waistcoat, skirt, apron) outfit, as well as men in embroidered lederhosen. There was also one shop that had a bridal version of the Dirndle outfit. I have never been that interested in German regional dress, but thanks to the TRC being given the Kircher Collection (with hundreds of items of German regional clothing) some months ago, it is something I am now looking at and becoming aware of what a diverse world it is.

This feeling intensified later in the afternoon when I went to the Historisches Museum Regensburg. Although I did not have an appointment I was able to talk with one of the staff about German regional dress and the TRC's problem of how to identify some of the unlabelled items from the Kircher Collection. Help was immediately offered! We are also going to talk about how the two institutes can work together with respect to exhibitions and research. By coincidence the museum also had on display an exhibition, called Heimat auf der Haut -Tracht in der Operpfalz, which is about nineteenth century regional dress from the Oberpflaz region of Germay. So we had an interesting time looking at the garments together and discussing their origins, uses, embroidery forms, etc. The exhibition runs until the beginning of July and is well worth seeing. There is also a catalogue to the exhibition, which will be discussed in the next, Books Showcased (June 2016) item of the TRC website. Tomorrow we are going to Bamburg to see some more medieval textiles and garments!

Gillian Vogelsang-Eastwood, 10 June 2016

Duct tape dress. TRC collection.I’ve heard of textiles grown in test tubes from genetically engineered bacteria, and of clothing made from recycled plastic or even rare spiders’ silk. But it took my 17 year-old niece in America to teach me about a textile made from a material most commonly found in tool boxes. I’m talking duct tape. That grey-coloured industrial tape you use to wrap around a frayed electrical cord or to fix a broken lawn chair.

For several years teenagers in the States have been making party clothes out of duct tape. My niece has donated one such dress she made to the TRC, where it’s now on display. She wore the dress in May 2014 to an annual Duct Tape Costume Ball, organized by an educational programme called Destination Imagination. The event made the Guinness Book of World Records as the largest gathering (with 752 participants) of people wearing duct tape yet. The garment is made from a sleeveless dress found in a second hand shop and several rolls of duct tape. The top of the dress is a synthetic fabric covered in sequins, while the attached skirt is made from gold-coloured duct tape with a deliberately uneven hem. The duct tape makes the skirt somewhat stiff and heavy to wear, but the dress as a whole looks actually fashionable.

A Google search for “duct tape clothes” revealed over 650000 items, plus countless photographs and videos. The creativity shown is wonderfully surprising: from tuxedos and floor-length gowns to characters from popular movies (my personal favourite: a young woman dressed as the Death Star spaceship from the Star Wars film, accompanied by a Jedi Knight). There are tutorials in how to make duct tape dresses, and accessories such as corsages, bow ties, clutch bags and belts. Sewers are also using duct tape to make tailor-made mannequins and dress stands. The model, in bra and T-shirt, is wrapped in duct tape. When the ensemble is taken off, you have a mannequin with the right measurements to work from.

Making your own clothes from duct tape has also led to another phenomenon: the ABC party. ABC stands for “anything but clothes”. In other words, no textiles of cotton or synthetics, but more non-traditional materials. YouTube also has hundreds of videos of people making clothes out of playing cards or loofahs or, of course, duct tape. Duct tape manufacturers such as 3M and Shurtech Brands have capitalized on this trend. Not only is duct tape now manufactured in a wide range of colours and motifs; businesses are also organizing competitions for the most original or colourful duct tape garment, with cash prizes and scholarships for the winners. While I doubt duct tape will be the textile of the future, I do applaud the creativity and sense of fun people like my niece are showing in exploring new materials.

Shelley Anderson, 29 May 2016

Portrait of Jacquard, woven on a Jacquard loom, 1839.Yesterday, 21 May, a meeting of the European Alliance for Asian Studies brought me to Lyon in France and I had the chance to visit the world famous textile museum, or better the Musée des Tissus et des Arts décoratifs. Last year plans were circulating to close down the museum because no new funding could be found, but these plans seem to have been shelved.

The museum and the textiles that are exhibited are fabulous. One of the larger rooms contains a group of beautiful late 17th century tapestries, and the easy chairs that are placed opposite them invite people to sit down and look at these huge pieces at length. Lyon is, of course, famous for its silk and textile industry, and the development, in the early 19th century, of the Jacquard loom, a beautiful example of which is placed in the museum. Even after so many years it remains a marvellous piece of engineering. For those of you who are unfamiliar with the principle of the Jacquard loom, it is a mechanical instrument that is driven by cards with holes punched into them, each card determining one  row (throw) of the woven textile. Joseph Marie Jacquard (1752-1834) did not devise this loom out of nothing; he built upon earlier inventions and innovations. He became especially famous when a few years after his death a portrait of his was 'punched' and woven to order. 

The museum itself is housed in the beautiful 18th century Hôtel de Villeroy, which was the residence of the governor of Lyon in the 18th century. 

Willem Vogelsang, 22 May 2016

Mamdouh al-Damati, former antiquities minister of Egypt, speaks at the Tutankhamun Grand Egyptian Museum, 8 May 2016.The last few days have been spent in Cairo. I was invited to attend the 2nd Grand Egyptian Museum (GEM) conference about Tutankhamun and to give a lecture about the embroidered and beaded garments from the tomb of the young king. Prof. Olaf Kaper (Leiden University) and I gave lectures on different aspects of the textiles and garments associated with Tutankhamun. There were also other lectures about the textiles, notably by Issam Ezzat, Hamza Nagm and Mie Ishii, who all discussed different aspects of the conservation of the textiles. There was also a very interesting talk by Christian Eckman on the damage and repair of the golden mask. And Jan Picton (UCL London) talked about the textiles from Gurob and how some of the 'missing' garments of Tutankhamun may have looked like.

The second day of the conference was dedicated to jewellery and other items from the tomb, such as the wide variety of plants. The third day was full of fireworks as it included Nicholas Reeves and Zahi Hawas (who was in combative mood). The basic upshot was that there is no conclusive evidence that there are more rooms associated with the tomb of Tutankhamun.

Yesterday, Monday, was spent looking at some textiles and talking with colleagues at GEM, and then a visit to the Egyptian Museum to look at the Tutankhamun textiles still on display there and to talk with conservation staff about their work. Most enjoyable, and it meant I had time to look at certain textiles in detail to check facts, confirm the (minute) size of the glass beads used for various garments and to ponder how to make replica garments, and indeed that always presents the question how to pay for them (a team of specialist weavers, embroiderers, etc is already in place). There then followed a short interlude in the academic thought process via an ice cold hibiscus drink in the garden of the Marriott hotel on Zamalek (as I said life can be so hard).

Today I go back to the Egyptian Museum to check even more details about the Tut textiles and to give a talk to the conservation staff about the Tutankhamun textiles and garments in general. And then a wander around the museum to look at some more textiles and beaded garments. Later in the day I will see a friend in Cairo who has the most amazing collection of Egyptian regional dress dating from the 19th and 20th centuries.

Gillian Vogelsang-Eastwood, 10 May 2016

The recent donation of a large collection of European traditional dress means that the TRC Collection is growing more rapidly than expected. So for the last few months we have been looking at what we have, what we are doing and where do we want to go. The TRC Collection now includes items from about 135 countries. Since July 2011 there are officially 195 independent sovereign states in the world, with about 60 dependent areas and five disputed territories (such as Kosovo). So the TRC Collection is beginning to truly reflect the diversity of the world of textiles and traditional dress.

The further expansion of the TRC Collection is now going to be directed, even more than before, on quality and on building up the depth of the collection, in order to reflect life in its many varied aspects, including items for men, women and children (some people think our collection is just made up of women’s clothing, which is simply not the case). This would mean that more items will be available during the courses, lectures and workshops for people to see and in some cases handle, and  we would have more material available for research.

To help people understand the diversity of the TRC Collection, the database of the collection has gone online on the 1st July 2016. Not every item is described in great detail (there are over 25000 items after all, by March 2018), nor are there photographs of everything. But every week new details and images are added and after four years, all items will be fully described and provided with one or more photographs. Exciting days ahead as the TRC truly goes international. For the digital catalogue, click here. For a more detailed introduction to the collection, click here.

Gillian Vogelsang-Eastwood, director TRC

On 31 January, I reported on a young Afghan boy who rose to global stardom when he was photographed by his brother wearing a plastic bag as a T-shirt with the name of Messi written on it by a ballpoint. The BBC just reported that he and his family have fled to Pakistan, after threats by local criminals who demanded money from the 'famous' family. The boy, Murtaza Ahmadi, and seven of his kin now live in one room in Quetta.

Willem Vogelsang, 3 May 2016

Reverse of an embroidery of Rembrandt's De Nachtwacht.Today I was struck by an announcement in the Dutch press. It is about a famous modern Dutch artist who tells about his fascination with embroidery. The Embroidery Show is an exhibition that is held in Museum De Fundatie, Zwolle, The Netherlands, from 28 April to 18 September 2016. It shows some one thousand embroideries that were collected since 2005 at various flea markets and other places by the Dutch artist, Rob Scholte.

With this collection and the exhibition the artist wants to highlight, in his own words, “traditional, handmade embroideries, which mothers, grandmothers, great-grandmothers and great-great-grandmothers (and sometimes men) of our country have made, anonymously, with much love and patience, in the few hours of spare time that they had…. The result of all these weeks, months and years of hard work is sold by their descendants for an euro.”

With the exhibition Scholte wants to give embroideries the respect that they deserve. What he does, surprisingly, is showing the back of the embroideries, together with all their fringes and loose hanging threads. He frames them backwards, signs them, and shows them as such to the public. It is the reverse of the embroideries, according to the artist, that shows the efforts and the character of the embroiderer. The exhibition shows the backside of the embroidered masterpieces of Dutch painting, by Rembrandt, Vermeer and many others.

Willem Vogelsang, 28 April 2016

The last few days have been very busy at the TRC, especially as I was asked to go to London to give a lecture about Iranian regional dress. So early on Thursday (21st April), I flew to London. In the morning I had an appointment at Hand & Lock, a hand embroidery company that dates back to the late eighteenth century. It specialises in military embroidery using various gold work techniques, as well as machine embroidered patches, and so forth. They also make dresses and garments for film and pop stars and royalty from around the world. I was given a conducted tour of the premises as well as having the chance to meet various members of staff and to discuss how we can work together. Lots of potential, including shared exhibitions, reference collections of military laces, and so forth. They also have a very interesting archive that I would love to dive into, especially the folders marked Iraq and Oman that date back to the first half of the 20th century.

The next appointment was with a colleague who works at Bloomsbury Press (who are the publishers of The Encyclopedia of Embroidery from the Arab World, 2016). We are discussing the possibility of the TRC producing two more books about the history of embroidery and to make it into a series. We will shortly hear if Bloomsbury is officially interested and if yes, we will let you know.

And then in the evening I gave a lecture for the Iranian Society (London) at the Army and Navy Club. I should like to thank Janet Rady and Antony Wynn for asking me to come and give the lecture and for their hospitality in London. It was much appreciated. The lecture was based on one I gave in Edinburgh last year and is about how the TRC came to have the largest collection of Iranian regional dress outside of Iran. There were many people attending the lecture and the feedback was very positive, if not a little surprised that such a collection actually exists in Europe. This was one of the main reasons I gave the lecture, so that more attention can be given to the collection. I also announced that we are now looking for €8000 to pay for the collection to be properly catalogued and photographed, prior to it coming on-line on the TRC Collection Database, as well as for illustrations in the book we are currently writing about Iranian regional dress based on the TRC items.

In 2013, I would like to add, the TRC staged a large exhibition about Iranian regional dress called Beyond the Chador, which included 83 outfits, plus individual items. The items used in this exhibition are available to other suitable institutes should they wish to put on such a diverse and colourful exhibition.

Gillian Vogelsang-Eastwood, 26 April 2016