Andean textiles, Seminole Indian culture, Shoes in the Age of Enlightenment

Andean textile expert Elena Phipps will be giving a lecture on the subject of Weaving Silver: Brilliance and sheen in Andean colonial textile traditions on Tuesday 27 July at 16:05 BST. This is part of an international, inter-disciplinary conference entitled The Matter of Silver: Substance, Surface, Shimmer, Trauma, which will take place over three consecutive afternoons. Each free session can be booked separately. For more information and registration details please click here.

© Elena Phipps

A new exhibit has opened at Elliott Museum, Stuart, Florida, dedicated to the life and culture of the Seminole Indians. Entitled Seminole People of Florida – Survival and Success it “will focus on the rich material culture that the Seminoles created and sustained during the late 19th and 20th centuries. From isolation in the mid-1800s to the establishment of two sovereign tribes that oversee modern, successful businesses, the Seminole people have experienced an extraordinary journey.” – Knowhere article. The exhibition will run until 4 October 2021.

© Elliott Museum

A new scholarship supporting the study of Asian and African textiles and dress has been established by Karun Thakar, in collaboration with the V&A. Awards of up to £10,000 are available for those studying these subjects both in the UK and internationally. Click here for more details.

The Bata Shoe Museum in Toronto is now open again. They are running a series of virtual tours this summer. This Sunday, 25 July, at 11am Eastern time (16:00 BST) the tour will focus on Footwear in the Age of Enlightenment. It will look at how clothing codified the distinctions between people, and how “a close examination of 18th century footwear reveals a great deal about the power dynamics of the period.” – museum website. More information about the exhibition can be found here. You can register for the online tour here.

Upcoming textile events – Part Two

PLEASE NOTE Subscribers who usually read this blog via their email may need to click on the blue title to access it through our WordPress site instead to enable them to watch the videos. 

As I explained in my previous blog, there are currently so many exciting textile events on the horizon that I have had to split them across two blogs.

Weavers from Fatumnasi village, Timor, Indonesia. © IFAM

The International Folk Art Market in Santa Fe is back!

“Since 2004, the International Folk Art Market has hosted more than 1000 master folk artists from 100 countries in the world’s largest exhibition and sale of works by master folk artists. Artist earnings have exceeded $34 million and impacted more than one million lives in the communities they represent. The Market offers folk artists a respected spot in the global marketplace to gather together and share their handmade traditions and to create economic, social, and individual empowerment.” IFAM website

There are a few changes, with the event spread over a longer period (7-18 July 2021) and attendees booking 2 hour slots – several of which have already sold out! For full details and registration please click here. That link will also take you to a listing of which artists will be participating each week. The video below shows highlights from the 2019 market just to whet your appetite.

The Association of Dress Historians will host its annual New Research in Dress History Conference online from 7-13 June 2021. This special conference will feature 120 speakers across seven days and according to their website it “will be a weeklong ‘festival’ of dress history”!

Illustration of Uzbek dress, © Association of Dress Historians

There will be several panels each day, with thirty minute slots for each speaker. They run from noon until 20:00 BST. It’s important to note that these proceedings are NOT being recorded so this is your only opportunity to hear these presentations. A huge range of topics will be covered:- Uzbek National Dress, Indigenous Vietnamese Dress, Chinese Influence in Swedish Fashion, Chinese Ceremonial Armour, Japanese Motif Dyeing and many, many more. The full list can be accessed here. One ticket entitles you to attend as many sessions as you like, leaving you free to dip in and out of this event. Click here for more information and registration.

A completed doubleweave textile at Tinkuy in 2017. © Andean Textile Arts

On 8 June 2021 Andean Textile Arts will host a talk entitled Peruvian Doubleweave: Past, Present, and Future. The speaker is Jennifer Moore who in 2013 was invited to teach doubleweave to indigenous Quechua weavers in Peru, where they are once again excelling in this technique that had been discontinued after the Spanish conquest. 

“Pre-Columbian Andean weavers were as masterful as any the world has ever known, working on simple backstrap looms but using a wealth of sophisticated techniques. One of these techniques, doubleweave pick-up, was developed in the Andes about 3,000 years ago. While still being done in other parts of the world, doubleweave died out in Peru after the arrival of the Spanish in the fifteenth century.” – Andean Textile Arts website. This talk is at 19:00 EST, which sadly is midnight in the UK. Click here for full details and registration.

Woman’s jacket, blouse and skirt, 1800-1850. © V&A, London.

The Epic Iran exhibition has now opened at the V&A, London to great acclaim – this article in The Guardian, gives a flavour of it. However perhaps the best introduction comes from this Reuters article which also includes a short video of some of the exhibition highlights introduced by co-curator John Curtis.

Don’t forget that Sarah Piram, Curator of the Iranian collections at the V & A, will give an online talk to the OATG next Thursday, 10 June 2021. She will give an overview of some major works, from early silk fragments showing roundels of animals, to Safavid carpets and contemporary craft tradition. Textiles and carpets will be showcased in different parts of the exhibition, and one of the highlights will be the ‘Sanguszko’ carpet which used to belong to the Duke of Buccleuch and Queensberry – one of the greatest seventeenth century Persian carpets in private hands. This talk will take place at 18:30 BST. OATG members should already have received their invitations, and registration is now also open non-members through this link.

On Saturday 12 June 2021 Sumru Belger-Krody will give an online talk hosted by the Textile Museum Associates of Southern California. The subject of this talk, entitled Earthly Beauty, Heavenly Art: Carpets for Prayer, is prayer carpets.

“Among textiles in Islamic society, prayer carpets hold a special place. They beautify spaces, while conveying metaphorical meanings for Muslim worshippers during their obligatory five-times daily prayer. Additionally, prayer carpets have been communicating the distinct aesthetic choices of the individual cultures who created and used them for centuries, while being recognizable as prayer carpets through their very specific design elements. Sumru Belger Krody, Senior Curator, The Textile Museum Collection at The George Washington University Museum and The Textile Museum, will discuss the prayer carpet’s universality in terms of its use and certain design aesthetics, followed by a brief description on how diverse Islamic cultures make this textile their own. She will show that certain design elements and their meanings or symbolism are universal, and point to a fluid iconography through time, place, religion, tradition, and culture.” – TMA/SC

Admission is free, but you do need to register for this event which begins at 10:00 PDT, which is 18:00 BST.

‘The nopal plant that is grown in America and produces grana (insect dye).

I had intended including the 15 June talk on cochineal by Elena Phipps here, but have now discovered that it has sold out. For those who have missed out, I’m sharing this link to Elena’s work Cochineal Red: The Art History of a Color, a Bulletin of the Metropolitan Museum of Art. In it she “traces the spread of cochineal red from the Americas, where Mexican and Andean weavers had for centuries been using it to create ritual and ceremonial textiles in deep shades of red and pink, to Europe and then to the Middle East and Asia” – Thomas P. Campbell, Museum Director.

Wonsam, ceremonial robe for women (1799-1850). © Seok Juseon Memorial Museum, Dankook University.

On Friday 18 June 2021 the Saint Louis Art Museum will host an online lecture by Lee Talbot, curator of The George Washington University Museum and The Textile Museum. His subject will be Textiles and Women’s Culture in Joseon Dynasty Korea. “For millennia Korean women have invested a tremendous amount of time in textile production, from cultivating and spinning fibers to dyeing, weaving, and sewing. This lecture will present a dazzling selection of garments, accessories, and furnishings from Korean and American museum collections to explore the role of textiles in upper-status women’s lives during the Joseon dynasty. Examined in light of Joseon literature and other visual arts, these fabrics reveal that when women’s personal freedoms were greatly curtailed, textiles could provide a creative, expressive outlet for women’s feelings as well as a valued source of income and store of wealth.” – Museum website.

Unfortunately this event really only works for our non-UK members as it takes place at 19:00 CDT, which is 1am BST. Here is the link to register. For those who can’t attend, this very well-illustrated online exhibition on Women’s Fashion in the Joseon Dynasty should give some insights.

Don’t forget that Chintz: Cotton in Bloom is still on at the Fashion and Textile Museum, London. This exhibition, which was organised by the Fries Museum, Leeuwarden, The Netherlands, showcases 150 examples of chintz from around the world. These range from mittens to wall hangings and from sun hats to mourning dresses. If you missed the curator talk which took place on 9 April 2021 you may be interested to know that it can now be accessed for a small fee here.

“On the panel were Gieneke Arnolli, former curator of Fashion and textiles, Fries Museum Leeuwarden, the Netherlands. As curator of Chintz: Cotton in Bloom Gieneke discussed the collection and conception of this beautiful exhibition and shared some of the history surrounding chintz. Also joining the panel was internationally respected textile expert and author Mary Schoeser, curator of the display Victorian Chintz and its Legacy. Mary offered her illuminating perspective on English Chintz, its development and place in textile history today. ” – FIT

Robe for a male dignitary (boubou riga or agbada), Nigeria, Hausa peoples, late nineteenth century

Dallas Museum of Art currently has an interesting exhibition entitled Moth to Cloth: Silk in Africa. “Throughout the world, silk is used to make cloth and associated with wealth and status, but  this rare, natural fiber is also indigenous to sub-Saharan Africa. Silk was traded between African peoples across the continent and was also imported from Europe, India, China, and the Middle East. This installation of cloths drawn from the DMA permanent collection explores the production of silk and silk textiles in Ghana, Nigeria, and Madagascar.” – museum website

This interview with Dr Roslyn A. Walker, curator of this exhibition, was fascinating and I learned a lot about the various types of silk moths as well as how although “imported silk thread has been replaced by rayon or cotton for over fifty years now, genuine silk remains the material of choice for making prestigious garments that symbolize elevated social/political status, success, and wealth.”

Last year I shared this presentation on the silks of Madagascar, but think it useful to share it again here.fascinating. It is by OATG member Dr Sarah Fee of the Royal Ontario Museum. The quality of the images really enhances the excellent text. The ROM hold 54 Madagascan textiles in their collection, some of which date to the nineteenth century. It was interesting to read of a connection with Omani traders and Indian trade cloths, almost reminiscent of the Silk Road connections. 

I’ve had lots of positive feedback for these blogs, but can only include events that I am aware of. If you do hear of anything relevant please do contact me. I would also like to strongly recommend two other sources of textile events, both compiled by friends of mine. The first of these is the monthly list produced by Cheri Hunter of the Textile Museum Associates of Southern California. To receive this please send an email. The second is compiled by Marilyn Murphy of ClothRoads, and again is produced monthly. Click here to subscribe.

Textiles from Japan, Africa, Bolivia, Tibet, Iran……..

Good news! Some museums are now reopening. Among these is the Östasiatiska Museet in Stockholm.

Their current exhibition, which runs until 15 August 2021, is entitled Boro – The Art of Necessity. On show will be a unique collection of boro objects loaned from the Amuse Museum in Tokyo, as well as newly produced works by Swedish artists. “Ripped, worn, patched and lovingly mended. Boro textiles tell us about the art of surviving on scarce resources in a harsh place. In northern Japan, the winters are cold and the population has historically been poor. Here, among farmers and fishermen, a distinctive female craft was developed in which nothing went to waste.” – museum website.

I like the fact that the textiles have been displayed in such a way that the viewer can see all sides clearly.

Another new exhibition opens in London on Granary Square, King’s Cross on 8 April 2021. This outdoor photography exhibition is called The Silk Road: A Living History . Over 160 images are used to document a journey along this historic trade route undertaken by the photographer in 2019.

Tajik girl dancing in the Pamir mountains. © Christopher Wilton-Steer.

“The exhibition’s linear design creates a physical route for the viewer offering them the chance to travel by proxy…… The show aims to celebrate the diversity of cultural expressions found along the Silk Road, highlight examples of how historical practices, rituals and customs live on today, and also reveal some of the connections between what appear at first glance to be very different cultures. It also seeks to engender interest and understanding between distant cultures and challenge perceptions of less well known and understood parts of the world. Photographs from Iran, Turkmenistan, Uzbekistan, Tajikistan, Kyrgyzstan, Pakistan, India, China and elsewhere will feature in the show. Visitors will be able to access additional content including videos and music via QR codes on each panel of the exhibition.” – Christopher Wilton-Steer. The exhibition runs until 16 June 2021.

Outer-kimono for a young woman (uchikake), 1800 – 30, probably Kyoto, Japan. © Image Courtesy of the Joshibi University of Art and Design Art Museum

Registrations are now open for non-members for the OATG’s next exciting talk (£3 donation) which will take place on Thursday 22 April 2021 at 18:30 BST, which should also work out for our many members in the US. The speaker will be Anna Jackson, Keeper of the Asian department at the V&A and curator of their blockbuster exhibition Kimono: Kyoto to Catwalk. In this talk Anna will take us on a fascinating journey from the sophisticated culture of seventeenth century Kyoto to the contemporary catwalk and reveal some of the stories behind the exhibition. 

Anna also wrote the introduction to Thomas Murray’s book Textiles of Japan (see my blog of December 2019). In an interview with Jess Cartner-Morley for The Guardian she said her aim in this exhibition was to “overturn the idea of the kimono as static, atrophied object and show it as a dynamic and constantly evolving icon of fashion”. She also discussed the history of the kimono, and cultural appropriation. This is well worth a read to whet your appetite for the talk. In another interview for LOVE magazine Anna talks about the difficulty of acquiring some of the pieces, their fragility, and the challenges in displaying them correctly. The exhibition was in three sections. “It begins by unpicking the social significance and heritage of the kimono in 17th century Japan, moving to consider the kimono and its position across a more international agenda, finishing with the progressive transformation of its comtemporary (sic) identity.” Scarlett Baker, LOVE magazine.

This is certain to be a very popular talk so I strongly suggest you register for it as soon as possible via this link. If you are enjoying our programme of talks why not consider becoming a member?

“Furisode with Wave and Crane Design, Made for Nishimura Tokuko, the fourteenth Madame Nishimura” by Chiso Co., Ltd, 1938. Yuzen-dyeing and embroidery on woven silk.

Those with a serious interest in kimono will be delighted to hear of not one, but two more exhibitions dedicated to that topic, both at the Worcester Art Museum, Massachusetts. The first of these is an online exhibition entitled Kimono Couture: The Beauty of Chiso. This exhibition is organised by the Worcester Art Museum in partnership with Chiso, a 465-year-old kimono design and production house based in Kyoto, Japan. I highly recommend spending some time ‘visiting’ this exhibition. It is divided into eleven parts, covering topics such as design, symbolism and decorative techniques. Clicking on each part will bring up much more information and a video.

Itō Shinsui (1898–1972), Woman with Marumage Hairstyle, 1924, Publisher: Watanabe Shōzaburō, color woodblock print on mica (kirazuri) ground, Gift of Edward Kenway, 1960.7

The second exhibition opened on 6 February 2021 and will end on 2 May 2021. It is entitled The Kimono in Print: 300 Years of Japanese Design and looks at the kimono as a source of design and inspiration through seventy prints. “Print artists from 17th to 20th -century Japan documented ever-evolving trends in fashion, popularized certain styles of dress, and even designed kimonos. The works begin with early prints from the late 17th century, when a more complex and sophisticated attitude towards clothing first appeared, as seen in the lavish prints of the floating world’s celebrity kabuki actors and courtesans. Modern design books and prints from the early 20th century, inspired by or made for kimono, demonstrate how the boundaries between print and textile fashion and design became more fluid.” – museum website. Monika Bincsik of the Metropolitan Museum of Art will give an online talk entitled Kimono Fashion in Kyoto at 18:00 EDT on Thursday 15 April. That works well for our US members, but UK members should note that this starts at 23:00 BST!

An interesting article by Karla Klein Albertson giving the background to these two exhibitions appeared in Antiques and the Arts Weekly. Another very detailed article just looking at the prints appeared in Asian Art newspaper.

Image: Bisa Butler, Broom Jumpers, 2019. Cotton, silk, wool and velvet, 221 cm x 132.7 cm.

In my most recent blog I wrote about an event on 7 April hosted by Selvedge, which has a panel of speakers looking at the subject of African wax prints. They have now added the extraordinary quilt artist Bisa Butler to the list of speakers for that event. Click here for full details and how to book. A reminder that two events linked to the upcoming Chintz exhibition at the Fashion and Textile Museum take place online on 8th and 9th April – see my previous blog for full details.

Haida and Kwakwaka’wakw artist Meghann O’Brien wearing the Sky Blanket she wove from mountain goat wool

Next Thursday, 8 April 2021 the Fowler Museum will host a conversation with artist Meghann O’Brien and textile scholar Elena Phipps about Indigenous knowledge and creative practice. “Meghann O’Brien is a Haida and Kwakwaka’wakw artist whose Chilkat textiles are based on the knowledge and artistic practices of her ancestors. Her projects engage specialized techniques of basketry and weaving, and use mountain goat wool, cedar bark, and other earthly materials to connect to the rhythms and patterns of the natural world. With these materials, she explores issues related to Indigenous fashion and couture, reframing the past and applying it to present-day life. ” – Fowler Museum.

This event takes place at 11:00 PDT , which is 19:00 in the UK. It is free, but you do need to register for it. There is also an interesting article in Mountain Life Media, which gives more background into how Meghann began weaving and the creation of her Sky Blanket. The short video shows how the blanket moves when worn.

© Cheri Hunter

On Saturday 10 April Cheri Hunter, the dynamic President of the Textile Museum Associates of Southern California, will be the speaker at their next event. Her topic will be the Textiles, Costumes & Pile Trappings of the Eastern Grasslands of Tibet. Cheri’s background is in film editing in Hollywood and she certainly brings that artistic eye to her photography. She has written many articles with photo-spreads for Hali. This illustrated talk “will emphasize both the local and imported textiles, costumes and pile horse trappings in use throughout the Kham and Amdo grasslands, as well as in shaman rituals and horse competitions, where all of the participants, including the horses, are dressed in their finest…… Please note that this program is a cultural travelogue rather than a scholarly program, with an emphasis on the textiles, costumes and horse trappings worn in festivals.” – Cheri Hunter. The talk takes place at 10:00 PDT, which is 18:00 in the UK. More details and registration here.

The Andean Textile Arts organisation will be hosting a talk on 13 April entitled Renewing Value in Southern Bolivia’s Textiles. The speaker will be Kevin Healy, who will introduce the audience to Antropologos del Surandino (ASUR). “ASUR is a Bolivian cultural foundation that has pioneered efforts to revitalize the Andean textile traditions in southern Bolivia. Since the late 1980s, ASUR has developed community-based programs that provide a way for the region’s rural indigenous weavers to continue creating and producing their beautiful Andean designs. Kevin will discuss how ASUR ’s work has provided a commercial outlet for the weavers in the capital city of Sucre, while also establishing a textile museum visited by multitudes of Bolivian schoolchildren and national and foreign tourists.” – ATA. The talk begins at 19:00 EDT, which is midnight in the UK – one for the night owls!

Carpets in the Bardini Museum, Florence

Next, one for the carpet lovers. On Thursday 15 April the New York-based Hajji Baba Club will host Alberto Boralevi who will talk about Stefano Bardini and the International Carpet Trade at the end of the Nineteenth Century. Bardini was an Italian antiques dealer based in Florence who handled many historical carpets, building up relationships with prominent collectors and museums. Twenty-two such carpets are housed in the Museo Stefano Bardini in Florence. The Bardini archives have a collection of over six thousand original negatives which show most of the objects which passed through his hands. To register for this talk, which takes place at 11:00 EDT (16:00 BST), please contact Elisabeth Parker, Vice-President of the Hajji Baba Club, using this form.

Camel chest band (detail), Qashqa’i people. Collection of Fred Mushkat

On Saturday 24 April Fred Mushkat, author of Weavings of Nomads in Iran: Warp-faced Bands and Related Textiles, will talk about the Weavings of Nomads in Iran as part of the Textile Museum Rug and Textile Appreciation series. “Warp-faced bands, containers and covers are among the rarest and least studied of all weavings made by nomads in Iran…… In this illustrated talk, collector and researcher Fred Mushkat will provide an introduction to these weavings, focusing on different warp-faced structures, how and why these structures were used, which nomads made them and how to distinguish one nomadic group’s work from another. Mushkat will also explore design repertoire, function and the importance of these textiles to the women who made them. ” – Textile Museum website. The talk takes place at 11:00 EDT which is 16:00 BST and you can register for it here.   You may also be interested in a blog I wrote in February on Nomads and their culture in Iran and Kazakhstan, which gave links to several articles and books on this subject.

A plethora of new talks and exhibitions!

It was a pleasure to see so many members take part in our recent AGM, and even more so that several of our overseas members were able to present textiles from their collections at the Show and Tell.

February certainly looks like being a busy month with lots of online talks and exhibitions. I’m listing them here in date order, as sadly several of them take place on the same date.

On 20 February there are no less than three online talks that I am aware of! The first of these is hosted by the Textile Museum, with Lawrence Kearney looking at American Coverlets for Rug Lovers. “In this virtual talk, carpet and textile dealer Lawrence Kearney will explore the varied art form of American wool coverlets from 1780 to 1830.

Woollen coverlets from the early 19th century are one of the great American art forms. They are often beautiful, plentiful and affordable. They were made, primarily, by itinerant weavers who travelled throughout New England and the Midwest from c. 1810 through the 1840s. After introducing the four main types of coverlets — over-shot, double-weave, winter-and-summer, and Jacquard-loomed (“figured and fancy”) — Kearney will explore the pleasures these 200-year-old woollen textiles can hold for rug lovers.” Textile Museum website.

Space for this session is limited so you are encouraged to register early.

A woman in Houaphan Province, Laos, models the hand-reeled silk, naturally dyed shaman cloth she wove on her handbuilt loom. ©Above The Fray.

Next is a Zoom Panel presented by WARP (Weave A Real Peace). This will take place at 1300 EST, which is 1800 in the UK. The panel will consist of Gunjan Jain, who “made a conscious switch from working for fast fashion industries to slow, sustainable fashion and set up Vriksh, a design studio that collaborates with handloom weavers in Odisha and other states in India.  Uddipana Goswami …. a feminist peace researcher turned peace entrepreneur who promotes eco-conscious traditional/indigenous crafts from India’s conflict-ravaged Northeast periphery, and Maren Beck, [who with] her husband Joshua founded Above the Fray: Traditional Hill Tribe Art in 2007 in order to document, support, and introduce to the world the incredible traditional textiles arts and cultures of Laos and Vietnam.” Maren and Joshua are the co-authors of Silk Weavers of Hill Tribe Laos. This talk is free, but registration is essential!

If rugs are more your thing then the talk hosted by the New England Rug Society might be for you. This also takes place at 1300 EST on 20 February, when Alberto Levi will speak on Rugs of the Golden Triangle. “While in Tibet in the early ’90s, hunting, in his words, “for the next Seljuk animal carpet,” Alberto Levi “stumbled across an entirely different kind of animal.” In time, what seemed to be a casual encounter yielded a distinct group of carpets, which Alberto labels “Tibetan Golden Triangle.” Far from being Tibetan, this elusive family of rugs, most of them fragmentary, appears to originate from a triangular region defined at its extremes by eastern Anatolia, the southern Caucasus, and Northwest Persia. How and why these rugs ended up in Tibet is yet another part of the mystery that Alberto will investigate in his talk. ” NERS Newsletter. NERS members will automatically receive a link. Non-members wishing to attend should email committee member Jean Hoffman to receive theirs.

Temple hanging, artist unknown, Gujarat 20th century

On Monday 22 February the Fowler Museum will host one of its regular Lunch and Learn sessions. Joanna Barrkman, the Fowler’s Senior Curator of Southeast Asia and Pacific Arts, will explore embroidered Jain temple and shrine hangings that offer insights into the religious beliefs and imagery of the Jain faith. This short talk will take place at 1430 PST which is 2230 GMT. Click here to register for this free event.

In addition to all of the above there is also the series of four talks hosted by the Textile Museum Journal that I covered in my previous blog. These are:- Elena Phipps on Brilliance, Colour and the Manipulation of Light in Andean textile Traditions (17th) , Raquel Santos and colleagues on Interdisciplinary Perspectives on Asian Textiles in Portuguese Collections (24th) and Walter Denny on Colour, Expectations and Authenticity in Oriental Carpets (26th). The talk by Dominique Cardon on Dyers’ Notebooks in Eighteenth Century England and France, which was scheduled for 10 February has been cancelled. However the good news is that one of Dr Cardon’s co-researchers, Dr Anita Quye, will now take her place for this talk on 10 March instead.

Buddhist robe (kesa), flowers in baskets. Japan, Edo period (1615-1868). Silk and gold brocade. ©Alan Kennedy

Don’t forget that the following day, Saturday 27 February, the Textile Museum Associates of Southern California will host an online talk by Alan Kennedy entitled Kesa: ‘Patchwork’ Buddhist Monks’ Robes in Japan, From Austere to Luxurious. This will take place at 10am Pacific time which is 1800 in the UK. “Kesa is the Japanese word for the traditional patchwork garment worn by Buddhist monks and nuns. These garments are among the earliest documented articles of clothing in Japan, based on inventory records dating to the 8th century. The history of kesa in Japan is of significance for both sacred and secular reasons. They served as a vehicle for both the transmission of Buddhism and of luxury textiles to Japan from the Asian mainland. Kesa that have been preserved in Japan are made of a wide variety of materials, ranging from monochrome bast fibre to sumptuous imported gold brocades. ….. This talk will survey kesa from its earliest history to modern times.” TMA/SC. Registration for this talk is available here.

Ensemble from Southern Moravia in Slovakia (KSUM 1995.17.574 a-e)

A new exhibition opened this week at Kent State University Museum, which will run until 19 December 2021. Entitled Stitched: Regional Dress Across Europe this exhibition showcases common features shared by regional costume across Europe. “In its original context in villages, regional dress carefully marked social and cultural differences. Religious affiliation, gender, age, and marital status were all instantly recognisable at a glance by members of the community. A person’s outfit signalled which village or region they came from. Focusing on these signs of difference obscures the common vocabulary that rural residents across Europe used to shape their clothing. By organising the pieces on display according to shared features, this exhibition highlights the commonalities across the continent rather than their differences. The pieces on view span Western and Eastern Europe including examples from Norway, the Netherlands, Slovakia, Romania and Albania. The development of elaborate regional dress was not a result of the isolation of their wearers but a signal of their integration into broader European society.” KSU website.

Quilt depicting scenes of domestic life and biblical scenes. Created by Minnie Melissa Burdick in 1876. ©Shelburne Museum

The Shelburne Museum in Vermont was the first to exhibit quilts as works of art. Most of the pieces in their collection were produced in New England in the nineteenth century. They recently launched a new online exhibition entitled Pattern and Purpose: American Quilts, which features high-quality images of a selection of their quilts, along with detailed background information on each one. There is also an excellent video in which Katie Wood Kirchhoff previews the exhibition and explains more about the history of the collection and about certain specific quilts. The catalogue of quilt patterns produced by the Ladies Art Company certainly made me smile.

Women’s festive headdress called a shamshur. End of the 19th century Sami, Arkhangel. ©REM

The Russian Museum of Ethnography has a new mini-exhibition which will run until 28 February. The subject is Glass Decor in the Traditional Costume of the Peoples of the Baltic and Barents Regions. The exhibition showcases textiles which are adorned using different types of glass decorations and were made in the second half of the eighteenth to the early nineteenth century. The quality of the images is very good, and there is a toggle at the top of the page to change the language to English.

Early 20th century. Leather, satin, silk, wool and metal thread embroidery, weaving tassels. Artisan Saadagul Mademinova, Southern Kyrgyzstan

The ethnographic collection of the Gapar Aitiev Kyrgyz National Museum of Fine Arts is highlighted in this article in Voices on Central Asia. In it Mira Djangaraсheva, the ex-director of the museum, Aigul Mambetkazieva, the chief conservator, and Chinara Daniyarova, a conservator, tell the story of the museum and describe some of its exhibits. The collection currently consists of over 18,000 items, including embroidered wall panels, felts, a fantastic pair of embroidered leather riding trousers and much, much more. Do take a look!

OATG member Sarah Fee, Senior Curator, Global Fashion and Textiles at the Royal Ontario Museum has informed us of the decision to extend the deadline for the IARTS Textiles of India grant until 15 May 2021. This biennial grant of $15,000 CAD “can be used anywhere in the world by anyone in the world toward a project that enhances knowledge about Indian textiles, dress, or costume”. The scope really is very broad, and can include research, fieldwork and creative work. Please click here for full details of how to apply.

Removing the bindings from the warp threads on Savu. ©David Richardson

Don’t forget the February issue of Asian Textiles will be out later this month. Our next online talk will be on 20 March when Genevieve Duggan will speak on People without history in eastern Indonesia, powerful or powerless? This will focus on the island of Savu, where Genevieve has conducted research over several decades. More details in my next blog!

T M Journal Interview Series, Chintz and Japanese Kesa.

This Wednesday, 27 January, OATG member Sarah Fee of the Royal Ontario Museum will discuss  the exciting revivals and innovations taking place today in India’s unique art of painting cottons using the kalam pen and natural dyes with Renuka Reddy of Bengaluru. The event, entitled Chintz Today: Breathing New Life into Traditional Textile Design, will take place at 1600 EDT which is 2100 in the UK. Further details and registration can be found here.

Hand painted mordant and resist dyed cloth by Renuka Reddy

Many of you will be familiar with the Textile Museum Journal which is published annually. It is peer-reviewed and always features a range of articles from a variety of scholars and textile experts. The most recent edition, published in autumn 2020, was guest edited by Dr Mary Dusenbury and is on the subject of colour.

A series of online interviews has been organised with some of the contributors to this edition. These interviews will take place during February and will “discuss the importance of recent advances in dye analysis, the value of collaborative, interdisciplinary research, and the multiple roles that a study of color can play in understanding a textile and shedding light on its historical and cultural context.” – Textile Museum Journal email.

There will be a total of 4 interviews, each taking place at 12pm eastern time, which is 1700 in the UK. You can register for each one individually.

The first interview will be on Wednesday 10th February and features dye specialist Dr Dominique Cardon. Dr. Cardon will discuss her research on three dyers who made significant contributions to colour and dyeing technology.

“Together with collaborators Iris Brémaud, Anita Quye and Jenny Balfour Paul, Dr. Cardon conducted a comprehensive study of notebooks compiled by three different dyers between 1722 and 1747 in London and Languedoc, France. In this interview, she will reflect on the similarity of their palettes, the virtuosity of the dyers as colorists, their shared technical language, and the scientific accuracy of the colors in their portfolios.” – Textile Museum website. For more information on the work of Dr Cardon see my earlier blog.


Man’s ponchito (detail), 19th century. The Fowler Museum 2011.36.11. Gift of Connirae and Steve Andreas. Photo by Don Cole.

The second interview will take place one week later, on Wednesday 17 February. Dr Elena Phipps will discuss “the Andean predilection for textiles that reflect light” with Dr Mary Dusenbury. Dr Phipps has written prolifically on textiles of the Andes and a selection of her work can be found here.

Vine-scroll design carpet (detail), Iran, 17th century. Museu Nacional de Arte Antiga 10Tp.

The subject of the interview the following week (on Wednesday 24 February) is Oriental carpets found in Portuguese collections. Dr Dusenbury will be joined by Raquel Santos, Blythe McCarthy, Maria João Ferreira and Ana Claro, co-authors of three of the papers in the Journal.


Anhalt Carpet (detail), Iran, 1500-1550. The Metropolitan Museum of Art 46.128. Gift of Samuel H. Kress Foundation, 1946.

Please note that the final interview is NOT the following Wednesday, but will take place on Friday 26 February. This will be with Dr Walter Denny who “will explore the controversies and difficulties surrounding any study of color in pile carpets by art historians, conservators and photographers….. and….how scholarly expectations of color in the various historical eras and geographic groups of carpets are shaped by what has survived of old traditions.”

Buddhist Priest’s Vestment (Kesa) with Phoenix, Japan, Edo period (1615–1868), Date 19th century, Japan, Silk and metallic thread tapestry, Overall: 44 x 80 in. (111.8 x 203.2 cm). Metropolitan Museum of Art, New York.

The following day, Saturday 27 February, the Textile Museum Associates of Southern California will host an online talk by Alan Kennedy entitled Kesa: ‘Patchwork’ Buddhist Monks’ Robes in Japan, From Austere to Luxurious. This will take place at 10am Pacific time which is 1800 in the UK. “Kesa is the Japanese word for the traditional patchwork garment worn by Buddhist monks and nuns. These garments are among the earliest documented articles of clothing in Japan, based on inventory records dating to the 8th century. The history of kesa in Japan is of significance for both sacred and secular reasons. They served as a vehicle for both the transmission of Buddhism and of luxury textiles to Japan from the Asian mainland. Kesa that have been preserved in Japan are made of a wide variety of materials, ranging from monochrome bast fibre to sumptuous imported gold brocades. ….. This talk will survey kesa from its earliest history to modern times.” TMA/SC. Registration for this talk is available here.

More online talks and an exhibition….

OATG members who were unable to attend the recent talk by Nick Fielding – or indeed those who would like to see it again – will be pleased to hear that a recording of this has now been added to our website. Simply go to Events Programme – Online Events – and then enter the password for 2020. This is shown on the inside back cover of our Asian Textiles journal, or contact any committee member for details. A digital copy of the December Lockdown Newsletter has also been added under the Journals section of the website, and again you will need the password to access this.

A reminder of two talks taking place this Saturday 9th January. The first is organised by the Textile Museum, Washington and features Sylvia Fraser-Lu on Burman Textiles. For full details see my blog of 23rd December. Click here to register.

The second event is hosted by the Textile Museum Associates of Southern California. Craig Diamond will speak on two types of textiles from Mindanao in the Philippines. See my blog of 18th August for a video of Craig talking about these warp ikat cloths known as T’nalak and woven by the Tboli people from banana fibre. Click here to register for this free event.

On Saturday 23rd January Ann Marie Moeller will discuss Small Japanese Treasures from the Lloyd Cotsen Collection at the Textile Museum. Click here for full details and how to register for this free talk.

Artist Unknown (Chancay or Rimac, central coast Peru); Panel with crowned figures bearing staffs; Fowler Museum at UCLA, X65.8730; Gift of the Wellcome Trust

On Monday 25th January the Fowler Museum in Los Angeles will be hosting a short online talk by Elena Phipps on the subject of a Peruvian cloth woven with four selvedges. This is part of their Lunch & Learn series, but it will be at 8pm in the UK.

Don’t forget we have our own AGM on Saturday 30th January. The formal part of the meeting will be followed by a short Show and Tell of textiles from members’ collections. This is the first time we will have held this event online, so we are seizing this opportunity to invite our overseas members to present one of their textiles. We look forward to “virtually” meeting you all.

Lama’s ceremonial hat, Tibet, early 20th century. ©Matthew Hillman.

Finally I enjoyed many of the images in this online exhibition about headwear. Curated by Stacey W. Miller, The Global Language of Headwear: Cultural Identity, Rites of Passage, and Spirituality has wonderful examples of headwear from across the globe. This exhibition should have currently been touring several museums in the US. As that has not been possible it has instead been made available online. Several of the images are accompanied by short videos, providing more information about how and when the hats were worn.

Thangka, the Yemen, African Arts, and Natural Dyes……

 

Last year Karen Horton talked to OATG members about her work conserving the thangka at the Chester Beattie library. As that was so well received I thought members might be interested in this online talk by Ann Shaftel on a similar topic. It takes place on Thursday 17 September at 1730 Mumbai time (1300 in the UK). To register for this event please follow this link.

“Thangka preservation is as complicated as the thangka form itself, a complex composite artform spanning centuries and continents, and still evolving….. This talk will include important fundamental points of the thangka form, history, purpose, preservation and evolution and complexities of preservation of the sacred”. The Museum Society of Mumbai.

 

Silk tie-dyed veil from Sana’a, Yemen (2018.37.74). Donated by Jenny Balfour-Paul.

The next thing that caught my eye was this blog by Multaka, Oxford. In it Joanna Cole looks at some of the connections between a collection of photographs taken by Jenny Balfour-Paul in Yemen in the 1980s and some of the objects donated by her to the Pitt Rivers Museum. Joanna gives examples of this veil from Sana’a and a photograph of women wearing similar veils. However my favourite example is that of the woven camel muzzle. Seen out of context it isn’t very exciting, but the photograph showing how it was used really brought it to life.

 

Another museum that has now reopened is the Brooklyn Museum. Their current exhibition is entitled African Arts – Global Conversations. The exhibition takes a “unique transcultural approach [which] pairs diverse African works across mediums with objects from around the world. By considering how shared themes and ideas—such as faith, origins, modernism, and portraiture – developed independently in different parts of the globe, it offers new theoretical models for discussing African arts in relation to non-African arts. Moving beyond the story of European modernists’ so-called “discovery” of African arts, it fills in the blanks in decades of art history textbooks” Brooklyn Museum website.

 

Chris Buckley recently informed me of the new publication by natural dye expert Dominique Cardon.

“This workbook is a bilingual publication in both French and English. It presents the palette of colours produced by Antoine Janot, a French master-dyer of the 1st half of the 18th century who owned  an important dyeing business in the south of France, specialising in wool broadcloth exported to the Levant. Janot wrote treatises on dyeing illustrated with dozens of dyed textile samples.” Dominique Cardon

 

 

Another expert on natural dyes, Elena Phipps, recently wrote this article on the dye record cards produced in the 1890s by an embroidery collective based in Deerfield, Massachusetts. “these dye cards show the Deerfield embroiderers experimenting with dyestuffs that had been used for millennia…. They reflect a different type of historic preservation effort – one focused on recovering and retaining fading knowledge of the art of dyeing.” Elena Phipps 

A sample sheet or montre showing the colours of broadcloth produced.

This use of record cards reminded me of another book by Dominique Cardon – The Dyer’s Handbook: Memoirs of an eighteenth century master colourist. In it she examines a manuscript written in the late eighteenth century by a clothier involved in the export trade from the Languedoc area of France to the Levant. She provides a great deal of context, both economic and political, as well as the expected technical analysis of the dyes and weave structures. You can get a flavour of her work from this article, written for Cooper Hewitt in 2017.

 

Finally, those of you who missed the talk on the Textile of Japan by Thomas Murray will be glad to hear that it was recorded and will be made available online at a later date.

 

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Yet more textile events!

I don’t usually write another blog so soon after a major one, but discovered these upcoming talks and exhibitions which I wanted to share.

 

 

On 18 January the Thai Textile Society will hold another Collector’s Corner event in Bangkok, the subject of which will be Guatemala Rainbow: The Most Colourful Textiles in the World. It will focus on the collection of Professor Douglas Sanders, a retired Canadian lawyer and law professor who travelled to Latin America in the 1970s for the World Council of Indigenous Peoples.

“Guatemala is one of only two countries in Latin America with majority indigenous Indian populations. In the summer of 1975 Douglas Sanders studied Spanish in the village of Huehuetenango, in the Mayan Indian hill areas of western Guatemala. With other students, he travelled to weekend markets, marvelling at the colourful weaving and embroidery. Each village had its own ‘typical’ – distinct clothing and designs. It was a lovely placid summer, coming after a period of civil war – and before another period of violence. Douglas’s collection will give a visual sense of a fascinating textile tradition that includes women’s blouses, men’s shirts, blankets, carrying cloths and ornamental hangings.” – Thai Textile Society website. For further details visit the Thai Textile Society website.

Details

Saturday 18 January 2020, 10:00am
Bandara Suites Silom, 4th floor conference room, first building, 75/1 Soi Saladaeng 1, Bangkok
Non-members welcome for a small charge.

For reservations please contact the Thai Textile Society.

 

Bamileke beaded shirt from Cameroon made of raffia and cotton.

Also on 18 January, but over in the USA, is a new exhibition on African Apparel: Threaded Transformations Across The 20th Century. This exhibition is mainly drawn from the extensive collection of Norma Canelas Roth and William Roth. It will include hand-woven and dyed textiles (for example bogolanfini mud cloth from Mali, adire indigo cloth from Nigeria, and kente cloth from Ghana) alongside factory-woven and machine-printed cloth (such as wax-print from West and Central Africa, kanga from East Africa, and shwe shwe from South Africa). Lots of examples of amber, silver jewellery and beadwork will also be on display. To learn more about the exhibition visit the website of the museum.

The exhibition has been guest curated by MacKenzie Moon Ryan. Click here for further details of his curator-led tour on Friday 24 January.

Details

18 January – 17 May 2020
Rollins Cornell Fine Arts Museum, 1000 Holt Avenue – 2765, Winter Park, Florida.

 

Detail from panel with stepped design. Peru, North Coast. Late Intermediate Period, 1150–1450 CE. Fowler Museum, © Elena Phipps

At the end of this month The Pre-Columbian Society of New York will host a lecture by Elena Phipps of the Metropolitan Museum of Art on the subject of Andean Textile Traditions: Materials, Materiality, and Culture.

“The development of rich and complex Andean textile traditions spanned millennia, in concert with the development of cultures that utilised textiles as a primary form of expression and communication. Knowing the importance of textiles in the Andean world, we can examine elements of their genesis and look at the trajectory from the earliest developments of fibre-made items to the extraordinarily complex masterpieces of textile arts. Understanding the processes by which this was achieved, challenging enough in their material and technical features, is part of a larger cultural dialogue about the relationship between textiles as objects of use and function, and their physical and material qualities. These represent cultural choices and constitute systems of knowledge and values, underscored in the material and materiality of the media.” PCSNY website. For further details and booking please click here.

I felt it was worth repeating this section below from my November blog as it ties in so well with Elena’s talk:

One of the techniques in which the creators of Andean textiles excelled was cross looping. In this blog for the Cooper Hewitt Elena Phipps examines this fragment of a border (probably for a simple shoulder mantle) made by Nasca needleworkers from the South Coast of Peru at some time between 100BC and 100AD. The yarns used are from various camelids – llamas, alpacas and possibly vicunas.

Details

30 January 2020, 18:00
The Institute of Fine Arts, 1 East 78th Street, New York

 

 

The China National Silk Museum is currently holding an exhibition  of 66 hats from across Asia. The Asian Hat Collection Donated By Barbara Park exhibition includes hats from Bhutan, Japan, Thailand and Vietnam, which are made using a wide variety of techniques.

A great selection of images from the exhibition can be viewed on the Facebook page of the Friends of the Museum.

“A hat is also an extraordinary storyteller, bearing lots of information such as identity, social role, tradition, history and life. This exhibition dives into the background of these hats, enquiring into the makers and users behind the hats per se.” China National Silk Museum

Details

Until 29 March 2020.
China National Silk Museum, Hangzhou.

 

A new exhibition has just opened at The Dick Institute in Ayrshire entitled Textiles and Memory. Dean Castle, another of Ayrshire’s flagship attractions, is currently undergoing major repair and refurbishment works which are due for completion in 2021. As a result, the Castle’s fabulous and nationally recognised collections of early musical instruments, tapestries and more have been moved to the Dick Institute for safekeeping and are on display in the North Museum.

The exhibition, with which OATG member Emma Dick was heavily involved, celebrates the hidden histories of textile making, the cultural heritage of Ayrshire, and the stories and memories of the women who make up the Dean Castle Textile Team. Click here for more details.

Details

3 December 2019 – 31 December 2020
The Dick Institute, Elmbank Avenue, Kilmarnock, KA1 3BU

 

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Exhibitions, Events and more in Thailand, France, Japan and the UK

A few events which have caught my eye…..

Patricia Cheesman with a few of the textiles from her latest exhibition ©City Life Chiang Mai

This week saw the opening of a new exhibition by Patricia Cheesman at Studio Naenna in Chiang Mai, Thailand. Entitled Over the Cordillera it showcases textiles from either side of the Annamite Range between Laos and Vietnam, examining similarities in their motifs. Patricia is the author of several books on the textile of this area. A brief overview of the exhibition, with many extra images featured in City Life Chiang Mai – thanks to Susan Stem for informing me of this.

Details:
Patricia Cheesman Gallery
138/8 Soi Chang Khian,
T. Changpeuak, A. Muang Chiang Mai

Wednesday 10am – 4pm (please call first) and by appointment tel 053-226- 42 or email st.naenna@gmail.com emailus1@studio-naenna.com

 

©Jenny Balfour-Paul

On 11 December indigo expert Jenny Balfour-Paul will be giving a talk in Paris on England and Holland, explorers of the indigo of the Indies.

Although indigo had been introduced into Italy in the Middle Ages it was “the English and Dutch East Indian companies that led to its expansion into the textiles of Europe of the seventeenth and eighteenth centuries, allowing considerable production of blue or black woollen cloth. In the nineteenth century, English settlers largely expanded the plantation and indigo production in India, dominating the world market until the advent of synthetic indigo.” (website of the National Institute of Art History). 

The talk will be in English and there will be time for questions and viewing some textiles afterwards. Click here to read an interesting interview with Jenny Balfour-Paul on Thomas Machell – the subject of her most recent book Deeper Than Indigo.

Details
December 11, 2019 – 18:00 -20:00
National Institute of Art History, auditorium
6, rue des Petits-Champs  or  2, rue Vivienne
75002 Paris
Free entry

 

Fragment of a horse caparison, England 1330-1340. © RMN-Grand Palais (musée de Cluny – musée national du Moyen-Âge) / Michel Urtado

Also on in Paris is an exhibition at the Musée de Cluny entitled The Art of Embroidery in the Middle Ages. According to the museum’s website “Embroidery with silk thread, gold and silver is one of the most precious and prestigious arts of the Middle Ages. And yet, today, these works are not at all well known.” This exhibition seeks to rectify that situation by looking at the main embroidery centres, from the Germanic regions to Italy, Flanders, England and France. It also provides an overview of the role medieval embroidery played from an artistic and social point of view, covering techniques, manufacturing processes and the relationships between sponsors, embroiderers, painters and merchants.” (museum website)

Details
24 October 2019 – 20 January 2020 Wednesday to Monday.
Musée de Cluny
entrance is via 28 rue Du Sommerard, 75005 Paris

 

Outerwear for women made of pineapple fibre, Panay Island, Philippines

Photo: Shinpei Shibuya

In complete contrast to all of the silver and gold in Paris, is an exhibition on Bast Fibers of the World which has just opened at the Iwatate Folk Museum in Tokyo. The range of bast fibres is incredible: raffia palm, hemp, ramie, banana were all used before we discovered cotton.

Details
Iwatate Folk Museum
1-25-13 Jiyugaoka, Meguro-ku, Tokyo 152-0035
28 November 2019 – 14 March 2020
Open Thursday, Friday and Saturday



Image courtesy of Takashima Gallery

While in Tokyo do not miss this small exhibition of Textiles of the Ancient Andes at the Takashima Gallery, which ends on 15 December 2019. Fifty textiles dating from 900BC to 1400AD are currently on show. The intensity of their colours is truly amazing! Click here to see great images of more of these textiles.

Details
APT on the hill | Takashima Gallery

 

©Cooper Hewitt

One of the techniques in which the creators of Andean textiles excelled was cross looping. In this blog for the Cooper Hewitt Elena Phipps examines this fragment of a border (probably for a simple shoulder mantle) made by Nasca needleworkers from the South Coast of Peru at some time between 100BC and 100AD. The yarns used are from various camelids – llamas, alpacas and possibly vicunas.

Recently an attempt has been made to revive this ancient technique. You can read more about the progress made in this blog by Marilyn Murphy of ClothRoads.

Film showing some of the fans on display and the conservation methods used.

Back in the UK the Fitzwilliam Museum in Cambridge has an exhibition of fans from their extensive collection.  “The collection of over 600 objects ranges in date from the 18th to the 20th centuries and in type from bejewelled and hand-painted court and wedding fans, to printed mass-produced advertising fans, aide-memoire fans, mourning fans and children’s fans.” (Fitzwilliam Museum website)

I found the accompanying film fascinating, especially the glimpses it gave into the various methods of conservation that were used. I had no idea that fans could be so fascinating!

Details
5 March 2019 – 12 January 2020
Gallery 34
The Fitzwilliam Museum
Trumpington St, Cambridge CB2 1RB
Closed Mondays

Finally I really enjoyed reading this blog by Sara Clugage on the Cooper Hewitt website. In it she examines this portrait of Karl Marx which was woven in silk in Hangzhou at the East is Red factory.

According to Clugage this “woven portrait of Marx is especially poignant, given Marx’s unrelenting criticism of the textile industry. In his early manuscripts of 1844, he quotes at length the capitalist abuses of laborers at textile mills……. Interestingly, Marx points to textile workers as the first to have their skills subsumed to wage labor, erasing the specificity of skilled work and turning it into a laborer’s saleable commodity. This portrait is a deft piece of propaganda, turning from the alienated labor of textile production under capital to its reclamation by workers in a communist society. It successfully encodes communist economic values with nationalist party values.”

Hangzhou is now the home of the China National Silk Museum where research into the history of Chinese silk production is undertaken.

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Events: Upcoming textile events

Several new talks and exhibitions coming soon….

Portrait of John Frederick Lewis. The cloth he is wearing features in the exhibition along with this portrait.

A new exhibition Inspired by the east: how the Islamic world influenced western art opened yesterday at the British Museum. It has been organised in conjunction with  the Islamic Arts Museum Malaysia, with the whole exhibition moving there in June 2020.

“The show takes a deeper look at the art movement of ‘Orientalism’ – specifically the way in which North Africa and the Middle East were represented as lands of beauty and intrigue, especially in European and North American art. Often blurring the lines between fantasy and reality, Orientalist art reached its heyday in the mid-1800s, as Europeans and North Americans were looking overseas to fundamentally learn more about other cultures, but its popularity had faded by the 1940s with the decline of the British Empire.” British Museum website.

Julia Tugwell, co-curator Middle East, has written an excellent blog on the subject here.

Location: Room 35, British Museum, Great Russell Street, London, WC1B 3DG. 10 October 2019 – 26 January 2020.

 

Dr Fiona Kerlogue will give a lecture to the Oriental Rug and Textile Society (ORTS) in London on 16 October on the subject of Malay Gold Thread Embroidery from Jambi on Sumatra. Focussing on a collection at the Horniman Museum in London Dr Kerlogue will “explore the historical evidence for the influence of trade connections and the colonial presence on the materials and style of gold thread embroidery in Malay Sumatra, and explain the contexts in which the embroidered pieces were used.” ORTS website.

Location: St James Piccadilly Conference Room, 197 Piccadilly, London W1J 9LL 18:00

 

Andrea Aranow will be lecturing on Japanese Textiles in Philadelphia on 20 October. She will be looking at how patterned kimono cloth is produced from a variety of fibres including cotton silk and bast fibres. With over 200 examples from her collection available to view this should be a very enlightening session. Full details can be found here.

Location: Rikumo, 1216 Walnut St., Philadelphia, PA 19107 14:00-15:30

On Saturday 26 October Dr Elena Phipps will give a presentation to the Textile Museum Associates of Southern California (TMA/SC) entitled Sacred Surfaces: Carpets, Coverings and Mesas in the Colonial Andes. 

“Textiles formed the surfaces of Colonial life in the Andes, and especially those associated with ritual and faith relating to the sacred realms of Christian as well as indigenous religious contexts. Carpets—woven of knotted pile or flatwoven tapestry– were not in themselves a form used in the region prior to the Spanish arrival. But these were introduced very early on in the 16th century by the Spanish who brought with them examples produced and influenced by Hispano-mooresque and Middle Eastern traditions. Andean weavers adapted to the form and techniques of their production, creating remarkable examples that manifest the complex interchange of the period.” TMA/SC Newsletter

Location: Luther Hall, Lower Level St. Bede’s Episcopal Church, 3590 Grand View Blvd. Los Angeles. 26 October 09:30 refreshments, 10:00 programme. Open to all with no reservations required.

Back in the UK Stefano Ionescu will deliver the annual May Beattie lecture at the Ashmolean Museum, Oxford on 30 October. The title of the lecture is Anatolian Rugs in Transylvanian Churches: In the Footsteps of May Hamilton Beattie, and it is co-sponsored by Hali.

Location: Headley Lecture Theatre, Ashmolean Museum, Beaumont Street, Oxford OX1 2PH 17;00-18:00 followed by a reception. Please note – this talk is free but booking by 23 October is essential.

An exciting new exhibition has opened recently at the Pushkin Museum in Moscow. Entitled East Jazz it presents “more than 30 unique Central Asian robes and fabrics from the collection of Alexander Klyachin and more than two dozen canvases of post-war abstract painting, collected by Swiss collector Jean Claude Gandyur. Having expanded and supplemented the exposition with works from the collections of the Pushkin Museum to them. A.S. Pushkin and the Paris Pompidou Center – Museum of Modern Art – Center for Industrial Design, exhibition curators will talk about the interaction of eastern and western cultures.”

Location: The Pushkin State Museum of Fine Arts, Ulitsa Volkhonka, 12, Moscow, Russia, 119019. 01 October – 15 November 2019

Looking ahead, next year the V&A will have a major exhibition on Kimono: Kyoto to Catwalk tickets for which have now gone on sale. “This exhibition will present the kimono as a dynamic and constantly evolving icon of fashion, revealing the sartorial, aesthetic and social significance of the garment from the 1660s to the present day, both in Japan and the rest of the world.” (V&A website). Full details can be found here.

Location: Victoria and Albert Museum, Cromwell Road, London SW7 2RL. Opens 29 February 2020.

 

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