News

Sheet of buttons made from corozon nuts, Europe, 20th century (TRC 2025.0851).We have recently been sorting through a collection of buttons that were part of a large donation (c. 6,000 items) by Hennie Stevan-Bathoorn and Sjoerd Stevan and formed part of the former Museum voor Naaldkunst in Winschoten.

Over the last year we have been (slowly) adding more and more Winschoten items to the TRC Collection and we are now looking at the various boxes of buttons.

Among these boxes there are several examples that look as if they were made of bone or ivory, but are in fact made of slices of corozon nut (TRC 2025.0851 to TRC 2025.0855). Equally interesting, there are some of the actual nuts themselves (TRC 2025.0856a-d).

Corozon nuts

Corozon nuts come from the tagua palm trees of the Arecaceae family, which grow in Central and South America. More specifically, they grow in southern Panama, Ecuador, Columbia, Bolivia, in parts of Brazil and Peru. Based on the information that came with the nuts, the examples now in the TRC Collection derive from Ecuador (P. aequatorialis).

Four corozon nuts from Equador, 20th century (TRC 2025.0856a d).The nuts are also known as palm ivory, ivory nuts and vegetal ivory. These terms refer to the white kernel (endosperm) that is nutrient-rich and can be found in many types of seeds from flowering plants, such as the white layers from the coconut, wheat and rice).

The seeds are harvested when ripe. The outer layer (pericarp) is removed and then the kernels are allowed to dry. With respect to the corozon nut, once the kernel (endosperm) has thoroughly dried, they become very hard, scratch-free, water proof and durable and can be used for a variety of objects, including buttons.

Corozon nuts, ballast and buttons

It would appear that dried corozon nuts were first introduced to Europe in the late 18th and early 19th century as ballast (rather than sand) on some wooden sailing ships, in particular, for the ships sailing between South America and Germany.

Pair of buttons made from the corozon nut, with a carved leather design. The Netherlands, 1930s (TRC 2018.1768a b).It would seem that someone in Germany saw the potential of these hard nuts to make a range of small items, such as needles and buttons.

Ivory nut buttons started to be manufactured in various countries in Europe by the mid-19th century. In general they are flat disc forms with two to four sewing holes. Some also have a dark brown layer around the outer edges (TRC 2025.085).

The TRC Collection includes other examples of ivory nut buttons, which come from the USA and date to the 1930s. One set of buttons is dome-shaped and they were carved to imitate buttons made from strips of leather (TRC 2018.1768a-b, compare TRC 2018.2197a-d).

Set of leather buttons. Europe, 1930s (TRC 2018.2197a d).Nut buttons stopped being industrially produced in the 1930s with the advent of cheaper, plastic buttons.

There has been a trend to re-introduce corozo nut items in order to replace small, elephant-ivory products (including parts for bagpipes!). There is a movement among some bespoke clothing groups to re-introduce corozo nut buttons, bearing in mind that they are more expensive than modern plastic buttons, but they are of vegetable-origin and sustainable.

Gillian Vogelsang-Eastwood, 14 July 2025

Bobbin lace is a popular and very attractive form of lace. To make it, you need special tools and materials, such as a lace-making cushion, bobbins, pins and thread.

A cushion is easy to make athome from a polystyrene sheet of at least 40x40x3 mm. A piece of fabric is sewn or pinned around it. Cushions can also be borrowed from the TRC, but these are generally somewhat large and heavy. Bobbins can be made at home, but can also be purchased from the TRC shop. You can contact the TRC beforehand about the required tools and materials.                                                                                                                                     

Sample of bobbin lace with a pattern of stylised floral sprigs on an edging with flower heads of varying sizes and wavy lines. The Netherlands, 19th century (TRC 2025.0566).

In the first three lessons you will learn the basics of bobbin lace making. Winding the bobbins, setting up the threads, and practising the three basic stitches, linen stitch, full and half stitch. These basic stitches are made in a nice leaf-shape, which you can use as a pendant.

In the last three lessons we will make a few nice ornaments, such as a fish and a tree. You can choose to attend only the first three lessons. If you only want to make the ornaments (Lessons 4-6), you must master the basics of lace making.

• Lesson 1, 10 September: Winding bobbins, casting on in a point, linen stitch
• Lesson 2, 24 September: Full stitch
• Lesson 3, 8 October: Cast on straight, half stitch
• Lesson 4, 22 October: Fish motif, 1
• Lesson 5, 5 November: Fish motif, 2
• Lesson 6, 19 November: Tree motif

Please note that in order to really learn the technique and get results, some homework is advisable.

The instructor is Gon Homburg. She learned to make lace from her mother and from 1983 she has been officially registered as a bobbin lace teacher. She teaches enthusiasts and gives workshops to various artisan schools, including the TRC. The course is given on six Wednesdays, between 10 September and 19 November, from 10.00-13.00.

Venue: TRC Leiden, Hogewoerd 164, 2351 HW Leiden. Teacher: Gon Homburg. Language: Dutch. Costs: 40 euros per Wednesday (to be paid per individual workshop on the day itself). Coffee/tea/threads are provided. Cushion and bobbins can be borrowed/purchased. Max. number of participants: 8. Minimum: 5. Please register well in advance: This email address is being protected from spambots. You need JavaScript enabled to view it..

USA-based donors can make tax-deductible contributions to the "Friends of the TRC Leiden" at Myriad USA. Because Myriad USA is a public charity, within the meaning of Sections 501(c)(3) and 509(a)(1) of the IRC, donors may claim the maximum tax benefits allowed by USA tax law for their contributions. Myriad USA works closely together with Every.org (San Francisco).

For the dedicated TRC site on Every.Org, click here.

If you wish to support us, here is how to proceed:

• Gifts by check: Address your check to Myriad USA, write "Friends of the TRC Leiden" in the memo section of the check, and send it to Myriad USA at 551 Fifth Avenue, Suite 2400, New York, NY 10176
• Gifts by credit card, bank transfer, Paypal, etc, via Every.org: click Myriad button above.
• Gifts by wire transfer or to contribute other types of property: Contact Myriad USA via email at This email address is being protected from spambots. You need JavaScript enabled to view it. or phone (212) 713-7660. 

The TRC Board has recently approved the Annual Report for 2024. We are very pleased to present an overview of what happened in the last year and in particular to highlight all the TRC blogs that were published and represent the diverse nature of all the many activities that take place at the Hogewoerd 164.

Detail of an embroidered top for a Ukrainian woman, early 21st century. Acquired in 2024 (TRC 2025.0149).

Many changes have taken place and many more are due to take place. it is clear from the report that we may be small space wise, but we are big in activities and in our support of textile and dress studies in all their myriad of different forms.

The TRC Annual Report 2024 can be accessed here.

Long, straight and sleeveless dress made from three panels of cloth sewn together. Backstrap loom weave. Amuzga, Mexico, late 20th century (TRC 2025.0318).The TRC has the opportunity to welcome a group of Amuzga weavers and embroiderers from Xochistlahuaca, Mexico. The group (organised by the TuYu Foundation) has offered to give two workshops at the TRC Leiden on weaving (two days) and embroidery (one day).

In addition, there will be a small, pop-up exhibition about Amuzga woven garments based on garments in the TRC Collection, as well as the chance to purchase items directly from the weavers.

"One of our key projects is in Xochistlahuaca (Guerrero, Mexico), where we work with a group of Amuzga women, an indigenous community. Our project involves documenting local symbols and their meanings, while also preserving textile practices such as natural dyeing, backstrap weaving, and hand spinning. We aim to promote Amuzga culture and teach the art of weaving on the traditional Mexican backstrap loom."

"As part of our mission, we organize European tours featuring representatives from the community, and we host workshops and masterclasses in cultural spaces that promote traditional craftsmanship."

Amuzga woman while weaving. Creative commons.

Past collaborations include venues such as Saber Fazer (Porto), Loulé Criativo (Loulé), Dudúa (Barcelona), La Escuela Artesans (Mallorca), Ambacht & Beeld Festival, and Het WereldMuseum (Amsterdam/Rotterdam), among others."

Sample of embroidered black cotton cloth with a square design enclosing various, interconnecting geometric shapes and applied mirrors. Factory woven cloth, hand embroidery (blanket stitch, stem stitch, chain stitch, couched herringbone stitch). India, late 20th century (TRC 2019.0286).Embroidery is an ancient, diverse and important tradition for the decoration of garments and items around the home and public buildings. There are many forms of embroidery, literally hundreds, from the chain stitch examples found in the tomb of Tutankhamun (died c. 1323 BC) to the double sided embroideries of Han China, which are still being produced.

The aim of this interactive study day is for the participants to understand the main techniques, and to look and study the various tools and materials used during the process of making a piece of embroidery. Throughout the day, examples from the TRC’s extensive collection of embroideries from around the world will be examined to see how men and women over the centuries have made and used this decorative form of needlework.

The study day is given by Dr. Gillian Vogelsang-Eastwood, a specialist in the field of embroidery history and author of the series Encyclopedia of Embroidery from ..... (London: Bloomsbury 2016ff.). If you have a particular piece of embroidery you would like help in identifying, then you are welcome to bring it with you to the workshop.

Date: Saturday 27 September 2025. Time: 09.30 – 16.00. Location: TRC Leiden, Hogewoerd 164, 2351 HW Leiden, The Netherlands. Lecturer: Gillian Vogelsang-Eastwood. Language: Dutch and English. Fees: 85 euro. Materials/coffee/tea provided. Please bring your own lunch. Max. number of participants: 8. Please register in advance: This email address is being protected from spambots. You need JavaScript enabled to view it..

The Middle East has long been the home of a multitude of different embroidery styles, which in many cases hav a long history. Many of these forms have been influenced by techniques, motifs and materials from neighbouring lands and continents. Embroidery was widely used for the wardrobe of the Egyptian pharaoh, Tutankhamun. It was also an important feature of the Byzantine and early Christian courts and religious institutions.

Long cotton panel with a repeating and intricate geometric design in red on a white ground. Fes, Morocco, 20th century (TRC 2022.0956).

Embroidery was, and still is an important aspect of Palestinian dress, but also found throughout the Maghreb, especially in Morocco and Tunisia. Middle Eastern embroidery has had a significant impact on European styles and techniques, and vice versa, European forms, particularly from the mid-nineteenth century onwards, have deeply affected Middle Eastern decoration.

This study day looks at a wide variety of embroidery types associated with the Middle East. It will include urban, village and bedouin items from Morocco, Tunisia, Egypt, Palestine, Syria, as well as Saudi Arabia and Yemen. The workshop will look at the history, techniques, and designs associated with this part of the world. During the day, we will also look at developments beyond the Middle East that affected the embroidery in the Middle East, and vice versa.

An important, but often overlooked element of a piece of cloth is the thread that is used to actually make it. It's only a thread, isn't it?  No it is not! It is an essential part of textiles and textile studies.

The study day looks at various ways of producing a thread, and understanding and identifying some of the variations and seeing how they can affect the end result, whether it is a woven, knitted, knotted, etc. form.

Detail of a sampler from AD 1779, showing to the right a woman spinning. The Netherlands (?) (TRC 2008.0431). 

The day will start with some hand spinning (experience is not necessary) with an emphasis placed on woollen and worsted forms (wool), as well as an introduction to the spinning of cotton, flax and silk. There will then be a session of thread identification and how to write the basic notations and terms, notably S, Z, I, plied, etc. Part of the day will also be used to look at various types of metal threads, such as plate, wire, passing, purl and pearl purl.

The aim of this interactive study day is for the participants to understand the main spinning techniques, and to look and study the various tools that are required, the fibres that are used and the resulting threads. Throughout the day, examples from the TRC’s extensive collection of textiles from around the world will be examined to see how men and women over the centuries have made threads. The study day is given by Dr. Gillian Vogelsang-Eastwood, director of the TRC Leiden.

Date: Saturday 18 October 2025. Time: 09.30 – 16.00. Location: TRC Leiden, Hogewoerd 164, 2351 HW Leiden, The Netherlands. Lecturer: Dr Gillian Vogelsang-Eastwood. Language: Dutch and English. Fees: 85 euro. Materials/coffee/tea provided. Please bring your own lunch. Max. number of participants: 8. Please register in advance: This email address is being protected from spambots. You need JavaScript enabled to view it..