Headdress (egme) for a Tekke Turkmen woman, Afghanistan, early 20th century. Recent donation by May and Rolando Schinasi (TRC 2024.0321)
Contents:
Leiden: City of Textile Knowledge
The past year has been a time of thinking, trying out, consolidating, meetings, and working on how to continue and expand the TRC! We are working with, for example, Leiden Council and Leiden University, as well as other groups and people, to find new premises, attract external funding and to pursue new possibilities for the teaching and learning about textiles in all their glorious, and sometimes less glamours forms.
We have had numerous meetings about the possibility of a larger home for the TRC in the city centre that will help to attract textile people from all over the world to Leiden. And I can promise there will be much more on this subject in 2025! We have also been presenting a wide variety of lectures, courses, workshops and study days on the theme of textiles and dress and many more are planned for the next few years.
We have attracted students both from the Netherlands and other European countries (partly thanks to our Erasmus+ Adult Education Accreditation). They had sometimes very different backgrounds, but all share an interest (which becomes a passion in some cases) in the diverse subjects associated with textiles and dress.
A brown mottled jacket (haori) with a lining decorated with a painted design on an off-white ground. Acquired with crowd funding in 2024. Japan, 20th century (TRC 2024.1064).
There have been several significant donations of items in 2024, including a wide range of Chinese and Japanese textiles, a large collection of Afghan and Central Asian jewellery, as well as a collection of 18th century European chasubles, dalmatics and other items relating to the Catholic Church.
Many of the Japanese kimono and jackets, for instance, were acquired following a very successful Crowdfunding activity that raised within a very short time the necessary sum of money. I would like to thank everyone (including Leiden Council) involved for their support and generosity. Some of the jackets already form part of a current (Spring 2025) exhibition at the TRC.
Sample of a piece of strapwork made from dark red silk velvet. Europe, late 16th century. Donation in 2024 by Marjolijn van Scherpenzeel (TRC 2024.3205).
These donations and acquisitions reflect ‘Citizen Culture’, namely involving the wider community in our endeavours. This process is playing a very important role in the development of the TRC and we hope, and indeed expect, that it will continue to do so, as more people realise the importance of textiles as an aspect of everyday life, and, in many cases, come to realise that they have far more knowledge about textiles and dress than they actually ever thought about, and how wonderful it is to visit an institute where this knowledge is shared and appreciated.
The TRC Collection (currently some 50,000 objects) is now recognised as being of international importance and prestige, reflecting not only Dutch and European textiles and dress, but also that of the rest of the world. This collection stresses that there is no distance between ‘them’ and ‘us’, between European and Asian, African and American, as we can all talk about textiles and dress because we all use and wear them. Textiles are literally on the same level as food and music: it brings people together because there is a general, although sometimes hidden understanding of what is involved: We all wear clothes, but at the same time, and this makes the subject so fascinating, they are not all the same.
We have also been working with Leiden Council to create a motto for the city! Leiden’s wealth and presence was based upon the textile industry which is reflected in the phrase “Leiden: City of Textiles”. In addition the city houses the university and many museums, hence the phrase “Leiden: City of Knowledge”. The TRC has created a new phrase, namely, “Leiden: City of Textile Knowledge” and 2024 has been used to look at what we are doing, what we can do and how to work with the many groups interested and actively working in the field of “Textile Knowledge”. There will be a lot more on this subject in 2025!
See also:
There are two main factors that make the TRC Collection a little different from traditional museum collections. Firstly, it is an active collection and people are encouraged to come and look, photograph and use the items, rather than the objects being stored ‘for ever’ in boxes. Secondly, we are not concerned with only collecting 'beautiful' items, we are interested in the story behind them. Something that may look ‘ordinary’ takes on a new dimension when its social, technical and economic context, the story behind the object, is taken into consideration.
To help people understand the diversity of the TRC Collection, the database of the collection is online and freely accessible. Not every item is described in detail nor are there photographs of everything. But every week new and extra details, as well as images were added. By the end of December 2024, almost 50,000 objects were included in the catalogue.
The TRC Collection is based on three specialisations:
A. Regional textile techniques and technology. This section focusses on items such as hand spindles from around the world, (small) looms, such as back strap looms from Peru and Indonesia, and Bedouin horizontal ground looms from Jordan, as well as textiles (woven and non-woven forms), etc., associated with specific groups or countries.
Embroidered waistcoat, Miao, China, 20th century (TRC 2024.2642).
B. Dress and identity worldwide. This specialisation deals with the concept of what people wear and do to their bodies in order to say ‘I am’ or ‘I would like to be’. This focus includes garments, headwear, footwear and accessories (such as jewellery, bags, fans, parasols, etc).
C. The Reference Collection is directly linked to the textiles and techniques section, but is not related to specific countries or cultures. The criteria is based on technique, and spun, woven, non-woven (knitting, lace, felt, etc), as well as printed and embroidered forms. There is also a growing collection of small tools, often with unknown provenance, used for the making and decorating of textiles.
None of these items have to be beautiful or masterpieces for them to be included in the TRC Collection. In fact we prefer to look for what is typical, technically interesting, and/or with a background story/context, rather than being exceptional or elitist. Which is not to say we turn our noses up at a lovely item!
A number of new acquisitions for the TRC in 2024 have been described in separate blogs, such as a collection of Afghan jewellery, late-16th century strapwork, Chinese minority textiles, and Japanese stencils.
The TRC depot
by Alice van Duijnen
In 2024 we received almost 4000 new items, bringing the total number of items close to 50.000. All new items found their way into the depot. After each new item has been described and photographed it enters the depot process. First stage is a period in the freezer, to kill off any insects or mould. Items stay in the freezer for at least a week. After that, they climatize for a few days and are ready for storage. The description and photographs are checked, to make sure all is in good order. Omissions are corrected. Then a box is selected and the item is stored.
Fiddleback chasuble made from a purple damask cloth with stylised flowers, leaves and stems. Europe, 19th century. Donated by Marjolijn van Scherpenzeel (TRC 2024.3044).
Our main collection, Dress and Identity, is stored primarily per country or region. After that a further breakdown in garments vs household vs technical (mostly cloth samples), gender and period. Next to that we have the Textile techniques and technology section, which includes the textile reference collection. The latter is organised per technique (printing, sewing, weaving, embroidery, lace) or materials. Each technique has a further technique-specific breakdown.
Two big collections stood out for me this year. The first one is a collection of Japanese haori jackets and kimonos (compare the 2024 exhibition of these garments; download here). The variety in techniques to embellish these garments and the level of skills required to create these items keeps amazing me.
Surprises such as painted or pattern woven insides of male garments, where the outside is black and stern, or the shibori cloth (tie-dye technique), where every little circle is created by binding off a rice grain, and the hand-braided (kumihimo) cords for fastening garments in many different techniques. Handling all of them was a privilege.
Pair of strapwork wall hangings. Euriope, mid- to late 16th century. Donated by Marjolijn van Scherpenzeel. TRC 2024.2934a-b.The second collection is a group of Catholic religious textiles and vestments from the 16th to the 19th century. Many of these textiles and garments show signs of intensive use, wear and degradation. For a museum that would be a reason not to accept them. But for the TRC collection this is less relevant. It is about the patterns, cloth and bands used, the different colours, different techniques.
Mint condition is not a prerequisite to investigate and learn from these garments. And a torn seam can be an advantage, since it allows you to study the internal structure without (further) damaging the item. As a weaver, studying the different cloth structures used in these garments from up close with my weavers-lens (thread counting lens) was a joy. For a blog about the 'advantages' of damaged textiles, click here.
Working with the collection items, together with students from different backgrounds, gives me a fresh perspective on textiles, how they are perceived and how people relate to them. Different angles to look and study them and questions you did not think of yourself are a continuing source of inspiration.
See also:
What is the TRC?
The Stichting (‘Foundation’) Textile Research Centre was established in 1991 with the stated aim of supporting the academic research of archaeological and anthropological textiles and dress, and their presentation to a general public. The most important part of our work is the building up and study of a textile and dress collection. These garments are available for teaching, research and exhibition purposes.
The TRC Board, per 1 January 2024
The TRC International Advisory Board, per 1 January 2024
Permanent staff and volunteers
Dr. Gillian Vogelsang-Eastwood continued as the director of the TRC. She is a specialist in embroidery and Middle Eastern textiles and dress. For 2024, the volunteers included: Shelley Anderson, Heloise Bellouard, Beverley Bennett, Marije Boerma, Olivia Buchan, Alice van Duijnen, Rose Groen, Augusta de Gunzbourg, Jenny Kano, Naoko Kikuchi, Maria Linkogle and Hanke van Prooije.
Obituary
It was with sadness that we heard about the death of Prof. Lammert Leertouwer (1932-2024) on Monday, 21st October 2024. Lammert was a member of the TRC Board for many years and was Chair of the Board until his retirement in 2017, but he continued as an ordinary member.
Lammert Leertouwer, by Marike Bok. I first met Lammert at the Volkenkunde Museum, Leiden (now the Wereldmuseum), where he was a special advisor to the museum. He had just retired as Rector Magnificus of Leiden University, and the museum had quickly employed him to help them promoting research at different levels.
We met in the queue of the Museum’s café and discussed life, the universe, textiles, etc. He totally understood what we were doing and why. When his time at the museum came to an end, he very kindly agreed to continue helping the TRC, because he was intrigued by us, and what we wanted to do.
I had various talks with Lammert in his study at home discussing problems, people and the future of the TRC. His many anecdotes were proverbial. I shall miss Lammert.
Gillian Vogelsang.
The TRC is a Cultural ANBI
From 2013 the TRC is officially recognised as a cultural ANBI (“Culturele ANBI”). It means that individual gifts by Dutch citizens are tax deductible for 125% for a private person and 150% for a company.
Erasmus+ accreditation
Since 2022 the TRC has Erasmus+ Adult Education Accreditation. This means that exchange of students with other Universities in the EU has been made much easier.
The TRC and online activities
The TRC has its own website, which was designed and is being maintained by Joost Kolkman and in doing so he is supported by Coen van der Geest. The site carries a wide range of information about the TRC, including its aims, annual reports, donation information, possibilities to loan objects or to hire complete exhibitions, short items of current interest, the library catalogue, the objects catalogue, TRC Needles, the TRC Blogs, etc. The website information is usually given in both Dutch and English.
TRC Collection: Work is progressing on bringing the complete TRC Collection online. By December 2024, over 49,000 objects were included in the catalogue, and the vast majority of them have been described and photographed. The database is already proving to be an asset to everyone concerned. Further developments of the Collection in 2024 are discussed below. The online catalogue of the TRC Collection can be downloaded here.
TRC Images: We now have another group working on TRC Images, which is a much smaller database that includes the TRC collection of images (postcards, photographs, even stamps) relating to textiles and costume from around the world. If you have any suitable items that you are willing to donate to the TRC, please do not hesitate to get in touch with us.
TRC Needles: TRC Needles is a digital encyclopaedia of decorative needlework and has now been online for just over some four years. Needles currently includes nearly 3000 entries and more and more information and partners are agreeing to help with the entries and providing information and/or photographs. We range from the modern stitch poetry of Janet M. McDonald Davies (New Zealand) to early archaeological finds of embroidery from China. For TRC Needles, click here.
TRC and social media
Thanks to the dedicated efforts of Augusta de Gunzbourg, Shelley Anderson and Willem Vogelsang, interest in the TRC on Facebook is growing rapidly and every week brings more and more subscribers to the TRC Facebook page. By the end of 2024 there were more than 14,000 followers of TRC Facebook. The site is in English and includes news about all the recent developments and events at the TRC, plus some personal comments about items on display or in the TRC collection.
During 2024, Shelley Anderson also ran Pinterest for the TRC. Pinterest features images of textiles and garments from the TRC’s collection and activities. In 2021, several TRC volunteers started a TRC Instagram page. In 2024 we are followed by over 15,000 people. This page is designed to show TRC objects with very short stories.
In addition, at regular intervals the TRC publishes a Newsletter that includes a brief update of events and a list of forthcoming activities. The newsletter is published in both Dutch and English.
TRC Blog: The TRC has its own blog page called Textile Moments, or more commonly: the TRC Blog. This page is used by members of the TRC or indeed anyone else, who has a story to tell about textiles, clothing, exhibitions, pictures, and so forth. A full list of all the TRC blogs published in 2024 can be downloaded here. The list also provides access to the contents.
TRC Gallery
The TRC Gallery is used to hold temporary exhibitions about textiles and dress. Access to the exhibitions is free of charge. In 2024 various events and exhibitions were held in the gallery, including the exhibition Dragon robes, butterfly pins and lotus shoes: Clothing in Imperial Qing China (March to October), and Shisha embroidery. More about these exhibitions further below.
The TRC Shop
The TRC Shop occupies a small area at the rear of the Gallery. It is not the main business of the TRC, but allows us to sell items that would either not be suitable to keep in the main collection or are duplicates of items we already hold.
The Library
Thanks to the hard work of the library team, the TRC Library catalogue went online in August 2015. By late December 2024, well over 6000 titles are included in the library catalogue (to be downloaded here), with cross-references, book reviews and recommendations. The library team, and especially Roos Groen, has worked very hard getting this all ready and the list of books in the collection is being up-dated on a regular basis. Thanks to the generosity of people, there are about another 1,000 books that need to be registered.
The TRC Library is growing steadily and developing into a major source for the study of textiles and dress. The publications are available for reading at the TRC rather than for loan. Please note, alas, we do not send books to readers via the post, etc.
Cooperation with Leiden Council
In 2024 we have been working on various projects together with Leiden Council in order to gain more recognition for the importance of textiles. We have been in regular contact with Wethouders (Aldermen) Yvonne van Delft and Fleur Spijker, as well as council officials, Steef Löwik, Renate van Zalen and Lara Ummels. One of the more practical projects relates to finding a new building. Leiden Council has been looking and discussing various possibilities on our behalf.
In particular they helped organise and pay for a feasibility plan produced by Peter Inklaar, Charistar, with the help of Carin Reinders. The (positive) report was official presented to Leiden Council in 2024 and has been used as a basis for further discussions and conversations about keeping the TRC in Leiden.
In particular a new slogan was developed during this phase: Leiden City of Textile Knowledge which is based on two existing slogans, namely: Leiden: City of Textiles (referring to Leiden as a major textile producing centre) and Leiden City of Knowledge (i.e. the university and the diverse museums in Leiden). The new slogan is being used at various events and moments to strengthen the idea of Leiden being actively involved in textiles at various levels.
In addition, the Council gave practical support in the form of a financial contribution for the purchase of a collection of Japanese kimono and jackets (see below). Leiden knowledge broker, Lara Ummels, is talking with various educational groups here in Leiden to see how we can actively work together. Further details about this can be found via the TRC Blogs.
Cooperation with Leiden University
The TRC is actively working with various groups and institutes in Leiden to promote textiles and dress studies in all their many different types and styles.
Thanks to Prof. Annetje Ottow, Chair of the Leiden University Board and a supporter of the TRC through the donation of family garments from the Dutch East Indies, we were put in contact with Alexander Mouret, Regional Partnering Manager Artificial Intelligence at LURIS, the Knowledge Exchange Office of Leiden University.
On 12-13 September this year he organized a symposium in Leiden on 'Indifference', where I had the honour to present a paper on 'Indifference to .... textiles' (for a blog on the subject click here). Alexander is helping us to find more routes and channels between the TRC, the University, and the commercial world, while at the same time exploring possible donors and sponsors, and indeed how we can all work together.
Alexander was also the organizer of a Memorandum of Understanding (MoU) between the University and the TRC, which was signed on 24 November 2024. In the past, the TRC has signed MoU’s with individual Leiden University departments, such as the LDE Centre for Global Heritage and Development, but this new MoU is university wide and means that it will be easier for students and others to work at the TRC, to join as interns, carry out research and embark on specific projects.
In 2024 we already had various interns and volunteers from Leiden University, including Olivia Buchan, who worked on the TRC’s lace collection, and a number of students from the Archaeology department, such as Emilie Lambert, Héloïse Bellouard, Tamar van Meerkerk, and Sophie Hayda.
A recent intern from Utrecht University, Christina de Korte, wrote a blog (to be downloaded here) about her experiences at the TRC. We also welcomed various student groups, notably from Anthropology and Critical Heritage Studies of Asia and Europe.
Over the years we have also had various staff members of the University attending the TRC’s 5-day intensive textile course. The December 2024 course, for example, included Prof. Ann Brysbaert, Professor Ancient Technologies, Materials and Crafts, Dept. of Archaeology, and we are talking with her about how to work closer together over the next few years. Prof. Brysbaert wrote a report about her experiences on the course (to be downloaded here)
On 20 December 2024 we had an unofficial meeting with Prof. Ottow, in which we talked about the current situation with regards Leiden University and our search for larger premises. We also discussed the MoU mentioned above, accommodating a wider group of students who are interested in textiles, clothing and accessories in all their many forms, joint exhibitions, and a range of other possibilities how we can work together. The idea of a textile garden for growing plants associated with fibres (flax, hemp, ramie, cotton?), dyes (everything from alkanet to woad), not to mention teasels for the weaving process (other suggestions most welcome in due course), was also discussed briefly.
We also talked about the need for new members for the TRC Board, and Prof. Ottow is going to talk with friends and colleagues to see who might be suitable. More specifically, we are looking for somebody from the commercial world who understands how the cultural world works and is willing to help the TRC grow and develop. Shortly before I had a meeting with Jacqueline Looijen from the WEEFNETWERK, about the organisation of one or two-year programmes for teaching weaving to people who want to set up artisan workshops. Prof. Ottow was also interested in this idea, so who knows, perhaps we can do this in conjunction with Leiden University.
Citizen culture at work
Citizen Culture, whereby groups of volunteers with different backgrounds come to the TRC and share their knowledge of textiles and dress, is a process gaining momentum. Various events took place at the TRC in 2024. These are very useful opportunities, not only for the general public to come and see the TRC and its collection, but also for TRC staff, who often learn more about the textiles that are being discussed. Further information on this TRC project can be downloaded here.
See also:
Two exhibitions were held in the TRC Gallery in 2024. The first was about Chinese dress in the late 19th and early 20th centuries, while the second was about Shisha work (mirror embroidery) from Western India and beyond. A third exhibition, set up in the context of a special TRC project, 'Engaging textile heritage communities through citizen culture', was on show in the workroom at the TRC.
*****
Dragon robes, butterfly pins and lotus shoes: Clothing in Imperial Qing China
What did Chinese emperors, empresses and their court wear at the turn of the 20th century, and what did other people wear at that time? The TRC opened an exhibition on this theme and on display were a series of garments and accessories that were worn during the last imperial dynasty of China, namely the Qing dynasty (1644–1911).
Woman's jacket, China, 19th century (TRC 2018.2839).
The exhibition was opened on Thursday, 28 March, by Prof. Annetje Ottow, President of the Executive Board of Leiden University, Her family contributed to the exhibition (and the TRC Collection) by the donation of Chinese-style garments worn by relatives in the former Dutch East Indies in the early 20th century (see a TRC blog).
Thanks also to a donation by Quirina Vreeburg, the TRC was able to showcase a beautiful array of embroidered and woven dragon robes, decorated mandarin officials’ gowns, intricate women’s hair and body jewellery, embroidered shoes, Chinese-Indonesian garments, and so on.
The material, shapes, style and patterns of clothing in Qing China expressed a strictly regulated language. Clothing was regarded as a reflection of ethnic, social and political identity.
From mythical creatures embroidered on silk gowns, butterflies made from kingfisher feathers and mounted on silver hairpins, to simple netted bamboo undercoats (TRC 2023.2071), lotus shoes and 'boat' platform shoes: Every part of an outfit said something about the wearer, his position and identity.
Woven gown from Manchu China, early 20th century (TRC 2023.2134).
The exhibition, curated by Augusta de Gunzbourg of the TRC, gives an overview of many elements of clothing worn at the dynastic court (from head to toe, literally) and by other people, but also gives a wider context to these garments.
Furthermore, the garments in this exhibition were worn during a moment of cultural and political transition in Chinese history, as the last ruling dynasty in China gave way to the 'modern' Chinese Republic.
Netted jacket made from short lengths of bamboo and bound at the edges with a narrow band of white, cotton cloth. China, 20th century (TRC 2023.2071).
The exhibition also highlighted Chinese clothing worn at that tumultuous time outside of China, as for instance in Indonesia, where political developments were very different from those in mainland China.
*****
Shisha embroidery from India and beyond
Inspired by a TRC masterclass held in early 2024, which included a demonstration of different techniques of applying small glass mirrors to a cloth ground, the TRC organised an exhibition about shisha work that was on view from September 2024 to January 2025.
Exhibition at the TRC of 'traditional' Indian shisha embroidery. Photograph by Augusta de Gunzbourg.
The exhibition featured over sixty examples of garments, panels and other objects with shisha work, including garments, complete outfits, panels, etc., all decorated with mirrors and embroidery. These included Banjara and Kutch items, as well as other examples from western India, notably Gujarat and Rajasthan, and beyond in Pakistan and Afghanistan.
Shisha work is a type of applied decorative needlework that is characterised by small pieces of reflective material that are sewn onto a cloth ground material. This technique is also known as mirror embroidery. It is popular in many parts of Asia. The term derives from (Persian) shisheh for 'glass'. In parts of India this type of work is also known as Abhala Bharat (Hindi).
Beaded panel with applied glass mirror (shisha work) and three stylised figures of Hindu gods, elephants, birds and floral motifs, all in various colours on a white ground. India, 20th century. Donated by Marjolijn van Scherpenzeel. TRC 2024.3153 2
It is believed that shisha embroidery originated in India in the seventeenth century, although it may well be older. The earliest extant examples of shisha embroidery used mica to create the shiny effect. Later the mica was replaced with tin or silver, and thin coins. Even beetle wings were sometimes used (see also TRC Needles: beetlewing embroidery). These were then replaced by glass in the early twentieth century. The glass was blown into large, thin bubbles and broken into small, round pieces – hence the earlier examples have a slight convex curve.
At first the making of mirrors for shisha embroidery was regarded as women’s work, but by the latter half of the twentieth century most of the glass was mass-produced with machine-cut glass with a silvered backing. By the end of the twentieth century shiny, plastic discs had more or less replaced the use of glass.
Shisha work is widely used on clothing (such as dresses and caps), as well as for wall and door hangings, covers and so forth. By the late nineteenth century shisha work of various types and styles was being produced in Afghanistan, China, Indonesia, India, Iran, as well as what was to become Pakistan.
Because the mica and mirror glass pieces have no holes that can be used to fasten the circles down to the ground material, a system of criss-cross threads is used. Sometimes a round, tin frame is placed over the glass and then the frame is sewn down onto the ground material. By the end of the twentieth century, small plastic frames were becoming more and more common as a method of holding down the mirror glass or plastic discs.
*****
TRC mini exhibition: 'Verbinding' (Connection)
by Maria Linkogle
The final activity for the Fonds voor Cultuurparticipatie project: 'Engaging textile heritage communities through citizen culture', was kicked off by the opening of this mini-exhibition with the title 'Verbinding' (Connection), on Tuesday, 1 October 2024. This comes after 18 months of participatory activities with diaspora community members, at the TRC Leiden.
Mini TRC exhibition: VerbindingIn April 2023, we started inviting members of various diaspora communities belonging to cultural organisations and community centres primarily in Leiden, but also from Amsterdam and Capelle a/d IJssel.
For this last activity, multi-media artist Ramia Suleiman joined the project team to help with developing the theme and concept of the mini-exhibition, and outreach for participants. This was more than a presentation of culture; it was a presentation of the participants' own emotional connection through textiles.
In Ghada Abhari and Herra Pahlasari we found a great team who were committed to work on every aspect of their exhibition. We had our first meeting with Ghada and Herra in July. They were asked to bring a textile object with which they had an emotional connection.
Ghada brought a wall hanging that belonged to her mother, which she brought back from Syria after her mother’s death. Herra brought her Ulos (piece of cloth used as a baby carrier), which was a gift she received from her mother-in-law when she had her first child.
We talked about the emotions that these items brought up. Feelings of being embraced by family was a strong emotion felt by both. We all agreed that this exhibition explores textile heritage and its role in our feeling of connection to where we come from in terms of geographical area and family. Textile material and immaterial heritage keep us connected to the places and the people we love and are reminders that they will always be with us. It was all about Verbinding.
Guests at the opening of the TRC mini exhibition "Verbinding', 1 October 2024. Photograph by Maria Linkogle.
Throughout the whole process, we looked at items that belonged to Ghada and Herra, as well as items from the TRC and we came up with a collection of items that represented the feeling of connection to homeland and family. In the weeks before the exhibition, through a combination of in-person meetings and a continuous stream of messages in our app group, we nailed down the more practical matters. Most of the hands-on work of putting the exhibition display together happened on the Friday before the opening.
The evening was both joyous and emotional, from the opening speech to the talks by Herra and Ghada about what the process of setting up the exhibition was like for them. The discussions continued as we mingled around and enjoyed the delicious treats, especially the Indonesian snacks made by Herra. A special thank you to TRC volunteers who helped with the last minute preparations and during the exhibition.
See also:
TRC blogs are written by staff and volunteers, and sometiems others, who comment upon a specific textile or group of textiles in the TRC Collection, on workshops or courses they attended at the TRC, or indeed on any subject that they think is relevant to the TRC and the studyof textiles and dress. Look at the long list of 54 ! blogs published by the TRC in 2024. You can download them individually. Enjoy!
See also:
The TRC is closed to the public until further notice due to an upcoming move to other premises. The TRC remains in contact via the web, telephone and email.
The TRC is dependent on project support and individual donations. All of our work is being carried out by volunteers. To support the TRC activities, we therefore welcome your financial assistance: donations can be transferred to bank account number (IBAN) NL39 INGB 000 298 2359, in the name of the Stichting Textile Research Centre. BIC code is: INGBNL2A.
Since the TRC is officially recognised as a non-profit making cultural institution (ANBI), donations are tax deductible for 125% for individuals, and 150% for commercial companies. For more information, click here
