The Internship Report TextielMuseum｜TextielLab Tilburg

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The Internship Report

TextielMuseum｜TextielLab Tilburg

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Art History - Curatorial Studies

Johana Kabíčková

S2985187

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Introduction - The TextielMuseum & TextielLab

“The TextielMuseum is a dynamic and creative working museum where textile

design, art, fashion, industrial heritage, and innovation come together.” It is the foremost

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knowledge and expertise center for textiles in the Netherlands. This innovative place, that

won the

‘museum of the year’ award in 2017, celebrates and continues the production of

original textiles – an industry that was Tilburg’s economic backbone for at least a century.

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The industrialization of the Netherlands had a great impact on the textile industry, “which

developed from a cottage industry with hand-weaving looms to large factories with hundreds

of steam-driven textile machines, and today’s specialized companies with

computer-controlled equipment.”

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The museum’s collection shows both the past and the present of textile production.

The combination of inspiring exhibitions, and the TextielLab, which is specialised in textile

research and production, makes the museum unique in its kind. The museum offers a variety

of exhibitions on textile design, art, and fashion, whereas in the TextielLab, one can watch

international and national artists and designers at work. Here they study the infinite

possibilities of textiles together with the experts. The TextielLab is a small but highly modern

version of a textile factory that demonstrates all the weaving, knitting, lasering, tufting, and

embroidery techniques in use today. This modern textile laboratory experiments with the

latest technologies and the most advanced machines. Various designers, architects, artists,

and students carry out high-profile research and work on innovative textile projects.

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“The TextielMuseum and the TextielLab are located in an old textile factory built in

the 1860s by the Tilburg wool fabric manufacturer Christiaan Mommers.’’ The museum

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complex is formed by multiple buildings, some of which were added in different periods. The

most recent addition was built in 2008 by the Cepezed firm of architects. Cepezed extended

the main building with a contemporary, strikingly transparent, glass-covered entrance area.

“The combination of old and new fits in with the museum’s DNA and underscores the

transition from industrial heritage to the present and future of textiles.’’

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I had the opportunity to work half the week in a museum and half the week in the

TextielLab. This unique combination was very beneficial to me since I believe that a curator

should have a vast knowledge of the making processes and be in close touch with the makers,

both of which I was able to obtain in the TextielLab. Being in close proximity to the thinking

and making process of artists and designers provided me with extra insight that ‘museum

work’ alone could have never taught me to such a degree. My supervisors were one of the

curators of the museum Adelheid Smit, and the weaving product developer Marjan van

Oeffelt.

2_{Retrieved on 20 April 2020, from}_{https://www.textielmuseum.nl/en/} 3_{Retrieved on 20 April 2020, from}

https://www.lonelyplanet.com/the-netherlands/tilburg/attractions/textile-museum/a/poi-sig/1520023/13 15729

4_{Retrieved on 20 April 2020, from}

https://www.holland.com/global/tourism/destinations/provinces/north-brabant/textielmuseum-tilburg-1.htm

5_{Retrieved on 21 April 2020, from textielmuseum.nl/en/about-the-textielmuseum/} 6_{Retrieved on 21 April 2020, from}

https://www.textielmuseum.nl/en/history-and-building/

7_Ibid.

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Working in the museum

The Art of Lace

At the very beginning of my internship, I helped with building up an exhibition called

‘The Art of Lace.’ “Exceptionally fine lace creations by the world’s biggest fashion houses

and designers have been brought together in a unique exhibition in the TextielMuseum. ‘The

Art of Lace’ offers an exclusive insider’s view of high fashion. More than forty designs are

on display, from Alberta Ferretti, Balenciaga, Chanel, Dior, Jean Paul Gaultier, Iris van

Herpen, Louis Vuitton, Maison Margiela, Schiaparelli and Yiqing Yin.’’ The whole concept

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of the exhibition was already prepared when I started working, and therefore I was only

needed for the final set up. However, it was a great introduction to the workings of the

museum. I learned a lot about object handling and all the final tasks of an exhibition build-up,

such as placing texts and labels, lights installation, and setting up the room.

This exhibition was mainly about fashion objects, which was very new to me in terms

of object handling. I have learned how to work with mannequins and very fragile fabrics.

Moreover, I got to meet staff from the technical department and the collection archive, which

proved to be very beneficial for my upcoming tasks.

Rode Draden

One of my other assignments was to prepare a collection exhibition together with one

of the curators, who was also my supervisor, Adelheid Smit. This exhibition is called ‘Rode

draden | Oude en nieuwe verhalen

 in kunst en design’ (translated as ‘Common threads | Old

and new stories in art and design’), and it will be on view for a year. This exhibition

concentrates on storytelling:

Presenting personal and cultural perspectives, the exhibition shows that our world is

made up of multiple stories. By sharing stories, we can discover what other people

experience, what they consider important and what makes us the same as well as different.

The exhibition ‘Common threads | Old and new stories in art and design’ explores how

artists and designers shape narratives and ideas. Personal perspectives are the common

thread that runs through this exhibition, which features works from the museum’s collection

organised around themes such as religion and spirituality, gender and sexuality, and

children’s stories and fantasies.

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Creating this exhibition required several steps spread over a few months. We started

by diving into the museum’s collection database in order to familiarize ourselves with what

the museum holds in its possession. I have learned how to work with a collection database

called Adlib, which is commonly used by many museums. Our research was slightly guided

in the direction of one common theme - storytelling. After days of exploring the museum’s

8_{Retrieved on 23 April 2020, from}

https://www.textielmuseum.nl/en/tentoonstellingen/art-of-lace/

9_{Retrieved on 23 April 2020, from}_{https://www.textielmuseum.nl/en/tentoonstellingen/common-threads/}

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collection, we made a first rough preselection of objects. After brainstorming with Adelheid,

we realized certain sub-themes are recurring in our selection. Myths and religion; children’s

stories and fantasies; cultural stories; and also more personal stories related to body

perception, queer and gender issues. This object selection has changed several times during

the preparation period due to numerous reasons - the state of the artwork would not allow

such a long display, or the size would not fit the specific measurements of the exhibition

space. Final cuts in the selection were also made on the spot during the last week of building

up when we realized that certain pieces do not quite work in the space or in the relation with

other works as we initially imagined. This part required a lot of imagination and thinking

through. We could not see all the objects in person, and often we only worked with

reproductions and hoped that our object ‘pairing’ would work as good in reality as it was in

our imagination. It was also beneficial to brainstorm our picks with other curators of the

museum and hear their opinion or suggestions for other pieces.

Positioning the objects in space and designing a layout of the exhibition was one of

the next steps we encountered. I have learned how to work with Sketchup - which is a 3D

design software that allows for 3D modeling. The exhibition space that was designated for

this show is quite complicated. It is located on the first floor of the TextielMuseum, and it is

simply one long room. The ceiling is very low, and there are many distracting elements such

as heaters and the AC system, as well as some old iron bars and poles, which are referring to

the building's history. Moreover, some of the walls were painted green. We decided to paint

all the walls white to give it a more neutral feeling and use the artworks itself to divide the

room in a certain way.

Moreover, I was responsible for contacting artists for loans, purchasing their works,

studio visits, installation instructions, or details about their work necessary for the exhibition.

These tasks taught me effective communication with diverse people and the ethics of loan

requests. The biggest task, however, after selecting objects and coming up with a theme and

subthemes, was researching the actual objects and text writing. Multiple texts had to be

created, such as labels, A and B texts for the exhibition, press release, and more. Writing and

researching that many objects was quite challenging due to the rather limited time frame. As

a direct consequence, I was able to further enhance both my researching and writing skills. I

also learned that all texts go through a large amount of corrections and edits and rewriting

before the final version is approved. At first, I found it frustrating, however, later on, I

learned what kind of text is expected for our type of audience, and it became much easier.

To enrich our exhibition, we designed an interactive part and an audio tour. The

interactive sections corresponded with two of the sub-themes of the exhibition - children’s

stories and fantasies, and body standards. Each section had a table where people could sit

down and write down their thoughts related to body standards or perusal through books

related to children's stories and fantasies. Furthermore, the audio tour consisted of ten pieces,

each selected by an employee from diverse departments of the museum. These people were

asked to reflect on the work they selected. I was among themOften, the artworks brought up

very personal and touching stories.

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Yarns presentation and Sustainability

This project took place at the TextileLab. Space, which initially served as a tufting

workshop and a showroom, was completely remodeled into embroidery and laser cutting

workshop area. To complement this remodeling, my supervisor Adelheid Smit and I were

asked to prepare a display related to the embroidery and laser cutting techniques as well as

the yarn stock of the TextielLab and its relation to sustainability. Our vision was to create two

infographic maps on the walls, one discussing the TextielLab’s yarn stock and one discussing

the issues of sustainability. That would be complemented by shelves displaying ‘show cones,’

which are cones with various types of yarn that visitors can touch and hold in their hands.

These cones would each have a label explaining what kind of material it is, what its

properties are, and how sustainable it is. The rest of the room would be devoted to the

technique of embroidery and laser cutting and presenting projects carried out in the

TextielLab with these techniques.

To redesign an existing room, we worked in Sketch-up, a 3D modelling program, in

order to design our vision to scale. It was an excellent opportunity to work on deepening my

skills with this program. However, the biggest part of my task was writing texts. It was quite

a complex task that required a large amount of research into a topic that I was not very

familiar with - yarns, sustainability, embroidery, and laser cutting. Next to writing two wall

texts, I also delved into the yarn stock to become acquainted with all the yarns there are,

subsequently chose forty types of yarn for the display, researched them and wrote their labels.

Moreover, I was responsible for spinning those show cones as well. I would take a large yarn,

and with the use of a spinning machine, I would spin a new smaller show cone that would go

on display. Furthermore, my assignment was to write a short label about embroidery and laser

cutting projects that are displayed in this room as well, as well as to select photos from the

process and let them be printed in high quality. Lastly, I was helping during the build-up with

hanging and placing of signs, labels and remaining texts.

Working in the TextielLab

The TextielLab consists of multiple departments that correspond with the techniques

that are being performed there, such as knitting, embroidery, laser cutting, passament, and

weaving. I was assisting the product developers in the weaving department. At the very

beginning, I was taught how to operate the weaving machines, how to work with multiple

computer programs necessary for digital weaving or converting designs into weavable files,

and how to understand materials and bindings.

One of my daily tasks was interacting with artists and designers working on their

projects in the TextielLab. Together with my supervisor Marjan van Oeffelt, I was

responsible for brainstorming with the makers about their future projects. They would tell us

their rough idea, and we would help them to figure out if it is doable and how to adjust it.

That meant discussing the possibilities of the jacquard weaving machines, the size of the

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project, materials, or how to create the specific effects they desire by choosing the right

binding or a yarn. I have encountered and worked with multiple internationally renowned

artists or designers such as Carlos Amorales, Otobong Nkanga, Kustaa Saksi, or Rafael

Rozendaal. For example, I participated in the development of sixty tapestries called ‘Orgy of

Narcissus’ for Carlos Amorales’ solo exhibition at the Stedelijk Museum in Amsterdam. In

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this work, Amorales examines “the phenomenon of the Internet meme (images that spread

rapidly online, their form and meaning constantly shifting) with overlapping streams of

depictions of a figure captured in an endless narcissistic orgy.’’ The production took months

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since many sampling and testing took place before arriving at the desired outcome. Amorales

produced sixty designs that I converted and cleaned in a special program, and later my

supervisor Marjan translated them into a weavable file. The perk of working directly with

artists was also the fact that I was invited to several openings of their shows, which I very

much enjoyed.

When there were no clients to work with, the product developers and I would be

working on improving our internal knowledge and expertise. For example, one of our

research tasks was working with fully sustainable and ecological types of yarn. We were

experimenting with the effects that these specific yarns could provide in a design.

Sustainability is a hot topic among many designers and artists, and therefore the TextielLab is

continuously working on broadening their yarn stock with more and more sustainable

materials. However, since many of these yarns are new and no one worked with them before,

it was important to experiment with them first internally to better understand what qualities

they can have. Later on, we could show the experiments that we created to designers and

artists who wish to work sustainably, so they have a better idea of what to expect from what

yarn.

When working in the TextielLab, I was led to be very independent, and it was

encouraged to voice my ideas or opinions. It was a very creative and intuitive way of

working. The atmosphere of the TextielLab is very vibrant and exciting. I loved to watch how

artists inspire each other or give each other advice. There also seemed to be no boundary

between the artist and the product developer. The final product was a collaboration of those

two parties. However, working in the TextielLab also means working under significant time

pressure and paying undivided attention to one project for days, which can be quite

exhausting. I also realized that the process of working with artists can be very exhaustive,

especially when they have a specific idea in mind, which is just not coming out of the

weaving machines. It can mean a lot of frustrating moments before the right ‘recipe’ is found,

and the design looks like they wished for. That taught me the right way of communicating

with people, and I could understand better what artists go through when creating an artwork.

Besides helping with product development, I was asked to research and collect

information about interesting past projects that were carried out in the TextielLab and write

about them. These projects are all available on the TextielLab’s website called the ‘Sample

Studio.’ “The Sample Studio brings together over 200 prototypes that have been developed at

10_{It can be nicely seen in this video. Accessed on 25 April 2020, from}

https://www.youtube.com/watch?v=h-nenyX677c

11_{Retrieved on 25 April 2020, from}_{https://www.stedelijk.nl/en/news/carlos-amorales-factory-2}

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the TextielLab over the last ten years. The textile samples that you find on this website serve

as inspiration for artists, designers, and students that would like to work in the TextielLab or

are doing so already.’’ I wrote around twenty-five pieces for this website. I also helped out

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with choosing the samples and photo shooting of these pieces for the website.

Critical reflection

I enjoyed how diverse my internship was. I feel like I was able to experience every

possible task that might occur in a museum. From research, text writing, art handling to

communication with artists, studio visits, and archiving materials. But also things such as

ordering professional prints, assisting with photoshoots, or buying random props for an

exhibition. I have learned that since every project or an exhibition is different, flexibility and

problem-solving is a key characteristic for a curator.

During my internship, I have been assigned a large number of tasks and assignments

that helped me to gain various kinds of experiences and grow in different directions. In my

opinion, the primary learning outcomes I am taking with me from this internship is the

enhancement of my organizational skills, writing skills, and art handling skills, which I

obtained during the ‘museum’ part of my internship. Whereas at the TextielLab, I further

improved upon my ability to communicate effectively with artists and how to truly

understand their ideas and support them in realizing their vision in the best possible way. I

cannot stress enough how beneficial this combination of museum and TextielLab work was

for me, and I would recommend it to everyone. Frequently curators focus so much on the

object itself, but forget the vital part of connecting with the artist.

With the exhibition-making of both ‘Rode Draden’ and ‘Yarns presentation,’ I have

learned to always look with the eyes of the visitor. I discovered that texts have to be short, to

the point, and uncomplicated. I learned that I have to put myself in the position of a person

who does not have any idea about this topic. Therefore, everything has to be clearly

explained. It was probably one of the most challenging parts for me. I often got swept away

and tried to tell too much. I am grateful for Adelheid’s guidance in the right direction.

I am incredibly thankful that Adelheid let me be part of every single step of the

process of being a curator. She would take me to all the meetings, and I truly felt as part of

the institution. I also learned so much by just observing people around me doing their job. My

experience from this internship also confirmed to me that becoming a curator is really what I

want to do. Moreover, Marjan and the whole team of weaving product developers reminded

me of how important it is to stay creative and trust the process.

12_{Retrieved on 25 April 2020, from}_{https://samplestudio.textiellab.nl/about/}

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Bibliography

“Knowledge center for textiles.”

_{Textielmuseum.}

https://www.textielmuseum.nl/en/

“Textile Museum.” Lonelyplanet.

https://www.lonelyplanet.com/the-netherlands/tilburg/attractions/textile-museum/a/poi-sig/15

20023/13 15729

“TextielMuseum Tilburg.” Holland.

https://www.holland.com/global/tourism/destinations/provinces/north-brabant/textielmuseum

-tilburg-1.htm

“About the TextielMuseum.” Textielmuseum. textielmuseum.nl/en/about-the-textielmuseum/

“History and Building.” Textielmuseum.

https://www.textielmuseum.nl/en/history-and-building/

“Art of Lace.” Textielmuseum.

https://www.textielmuseum.nl/en/tentoonstellingen/art-of-lace/

“Common Threads.” Textielmuseum.

https://www.textielmuseum.nl/en/tentoonstellingen/common-threads/

“Carlos Amorales - Orgy of Narcissus.” Youtube video, 0:15 sec. Stedelijk Museum

Amsterdam. Published 17 Jan 2020.

https://www.youtube.com/watch?v=h-nenyX677c

“Carlos Amorales - The Factory.” Stedelijk Museum Amsterdam.

https://www.stedelijk.nl/en/news/carlos-amorales-factory-2

“About our Samples.” Textielmuseum.

https://samplestudio.textiellab.nl/about/

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Appendix 1 - Art of Lace

Fig. 1: Build-up of the ‘Art of Lace’ exhibition

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Appendix 2 - Rode Draden

Fig. 2: Various archive research for the ‘Rode Draden’ exhibition

Fig. 3: Floorplan for the ‘Rode Draden’ exhibition

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Fig. 4: Unpacking loaned artwork and checking its condition

Fig. 5: Inspecting the condition of artworks for the ‘Rode Draden’ exhibition

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Fig. 6: Build-up of the ‘Rode Draden’ exhibition

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Fig. 7: Setting up of an audio tour for the ‘Rode Draden’ exhibition

Fig. 8: Interactive parts of the ‘Rode Draden’ exhibition

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Fig. 9: B-texts for the ‘Rode Draden’ exhibition co-written by Adelheid and I

Selection of B-TEXTS written by me (edited by Adelheid):

Fairy tales and fantasies

Children’s stories, legends, tales and myths play an important role in shaping our lives when we’re growing up. Some of the works in this room may have been entirely inspired by fairy tales and fantasy stories. After all, fantasy worlds are a rich source of inspiration for many artists and designers. On this table lies a collection of books originating from all over the world, feel free to pick one up and dive into the fairy tales, legends and myths they tell. Perhaps you know some of these stories already, perhaps you will discover something new.

We kindly ask you to leave the books on the table after you are finished browsing through them.

Body Standards

There is a strong relationship between physical appearance and social acceptance. Even though certain beauty standards or normative notions regarding physical appearance are far from ‘realistic’, people are generally swayed by them. Many artists reflect on issues regarding social acceptance and personal identity, for example, in relation to gender and sexuality. Have you got any thoughts on the subject of physical appearance? Do you feel that others see what you see when they look at you? Do you feel obliged to conform to certain (unwritten) rules in order to fit in/look ‘appropriate’?

You’re welcome to write or draw on one of the cards placed on the table. When you’re done, clip your story or thoughts onto the threads above the table to share it with the other visitors.

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Fig. 10: Labels for the ‘Rode Draden’ exhibition co-written by Adelheid and I

Selection of LABELS written by me (edited by Adelheid):

English label Dutch label

unknown maker batik cloth nineteenth century collection TextielMuseum

The Indonesian wayang (puppet theatre) figures can be categorised based on their appearance. A halus (refined) character has gentle facial features and a thin, straight pointed nose whereas a kasar (course) character has rougher features, such as a big, round nose. Most halus characters are gods and kings whereas the kasar ones are usually demons. The interaction of three kasar characters on the left and three halus characters on the right represents the restoration of harmony between good and evil.

maker onbekend batik

negentiende eeuw collectie TextielMuseum

De Indonesische wayang (poppentheater) figuren kunnen worden ingedeeld op basis van hun uiterlijk. Een halus (verfijnd) karakter heeft zachte

gezichtskenmerken en een dunne, rechte spitse neus, terwijl een kasar (parcours) karakter ruwere

kenmerken heeft, zoals een grote, ronde neus. De meeste halus figuren zijn goden en koningen, terwijl de kasaren meestal demonen zijn.

Het samenspel van drie kasar figuren links en drie

halus figuren rechts staat voor het herstel van de harmonie tussen goed en kwaad.

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Hella Jongerius

Do you like my Gucci sweater 2002

collection TextielMuseum made at the TextielLab

The title 'Do you like my Gucci sweater' is a reference to a culture obsessed with appearance. Hella Jongerius depicts pointy hip bones, a list of dishes with associated calories and caloric tables to comment on issues such as unrealistic beauty standards and society’s fixation with looks.

Hella Jongerius

Do you like my Gucci sweater 2002

collectie TextielMuseum gemaakt in het TextielLab

Het tafelgoed draagt de titel 'Do you like my Gucci sweater', een verwijzing naar een cultuur die

geobsedeerd is met uiterlijk en lijnen. Afgebeeld zijn puntige heupbotten en aan de kopse kant van het tafellaken is een lijst van gerechten met bijbehorende calorieën te vinden. Zo wordt elke tafelganger even herinnerd aan de effecten van onnatuurlijke schoonheidsidealen. Roy Villevoye Red calico # 3 1998-2003 collection TextielMuseum

In the Asmat area of West Papua, a garment is a precious item only obtainable as a gift or in exchange for hard physical labour. Asmat Papuans work on their highly prized T-shirts by making holes and cuts, creating their own unique pieces. Villevoye has been working with the Asmat people for many years and wondered: Are these garments a continuation of their traditional skin decoration or are they a way of protesting against the clothing rules imposed by those who occupy their land?

Roy Villevoye Rood katoen # 3 1998-2003

collectie TextielMuseum

Voor de Asmat Papua’s van Nieuw Guinea zijn kledingstukken kostbare objecten die alleen als geschenk of als tegenprestatie voor zware arbeid voor de Indonesische kolonisten verworven kunnen worden. De T-shirts verfraaien zij zelf met snedes, scheuren en spleten. Kunstenaar Roy Villevoye werkt al jaren samen met verschillende Asmat stamleden en vroeg zich af: Zijn deze shirts een voortzetting van hun traditionele huidbewerkingen of is het een wijze van protest tegen het kledingdictaat van hen die het land van de Asmat Papua’s bezetten?

Edmond Bellefroid Jonas

1925

collection TextielMuseum

According to a story in the Old Testament, Jonah, whom God had called to be prophet, refused to accept his divine mission and left on a sea voyage instead. As a sign of his anger, God raised a great storm. The sailors, realising that Jonah's

disobedience had caused the storm, threw him overboard. Jonah was swallowed by a giant fish. After three days, the fish vomited him out on dry land. Thankful that his life had been spared, Jonah took up his prophetic mission.

Edmond Bellefroid Jonas

1925

Volgens een verhaal in het Oude Testament weigerde Jona, die God had geroepen om profeet te zijn, zijn goddelijke missie te aanvaarden. In plaats daarvan vertrok hij op een zeereis. Als een teken van zijn boosheid, bracht God een grote storm op gang. De zeevaarders realiseerden zich dat Jona's

ongehoorzaamheid de storm had veroorzaakt en gooiden hem overboord. Jona werd opgeslokt door een reusachtige vis. Na drie dagen braakte de vis hem uit op het droge. Gelukkig was zijn leven gespaard gebleven en nam Jona zijn profetische missie op zich.

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Wilma Kuil Drifting by (I) 2004

'Drifting by (I)' explores the ideas of transience and passing youth.

After 16 years, you’re already almost an adult. The flowers tell the same story, after a week they’re already in full bloom. The combination of the girl swimming in the water and the magnolias, one of the first flowers in spring, tell the story of youth. The water lets you float, no solid ground under your feet, everything is still open' (quote Wilma Kuil 2013). Wilma Kuil Drifting by (I) 2004 collectie TextielMuseum

‘Drifting by (I)’, is het eerste deel uit een serie werken over vergankelijkheid en het voorbij gaan van de jeugd.

'Na 16 jaar ben je al bijna volwassen. De bloemen vertellen hetzelfde verhaal, na een week zijn ze uitgebloeid. De combinatie van het meisje zwemmend in het water en de magnolia’s, een van de eerste bloemen in de lente, vertellen het verhaal van de jeugd. Het water laat je drijven, geen vaste grond onder de voeten, alles is nog open.'(citaat Wilma Kuil 2013)

C.A. Wertheim

Strawberry fields for ever (nr.2) Self-portrait 2004 2004

Artist C.A. Wertheim calls attention to violence and contemporary consumer society in this self-portrait. The title refers to the 1967 Beatles song 'Strawberry fields forever', while the planes are borrowed from the film 'Apocalypse now', which is set during the Vietnam War. The jar lids and bottle caps can refer to pollution but also appear to form a brightly coloured field of flowers.

C.A. Wertheim

Strawberry fields for ever (nr.2) Zelfportret 2004 2004

In dit zelfportret brengt kunstenaar C.A. Wertheim geweld, dreiging en de hedendaagse

consumptiemaatschappij samen met verwijzingen naar de natuur en lieflijkheid. De titel van het werk verwijst naar het in 1967 door John Lennon gecomponeerde lied van de Beatles 'Strawberry fields forever', terwijl de vliegtuigen ontleend zijn aan de film 'Apocalyps now', die zich afspeelt tijdens de Vietnamoorlog. Het ‘strand’ op de voorgrond is bezaaid met deksels van glazen potten en flessen. Enerzijds zou het naar vervuilingen kunnen verwijzen maar je zou er ook een bont gekleurd veld met bloemen in kunnen zien. Studio Miss Blackbirdy

Sketching on my dress 2012

Merel Boers offers a glimpse into her fantasy world and a magical escape from reality with this unique universe composed of black and white flowers, birds, translucent threads and structures. The ornaments were created on the high-tech

embroidery machine in the TextielLab by stitching them on water-soluble fabric. After dissolving the base fabric, graceful flowers and plants formed from black threads remain.

Studio Miss Blackbirdy Sketching on my dress 2012

Gebaseerd op een geheel eigen wereld van zwart-witte bloemen, vogels, ragfijne draden en structuren vormt Merel Boers’ werk een feeërieke vlucht uit de werkelijkheid. Mode en illustraties zijn in haar werk met elkaar verweven. Zij ontwierp

ornamenten, die met de high-tech borduurmachine op water oplosbare stof zijn geborduurd. Na het nat maken van deze stof blijven sierlijke bloemen en planten gevormd uit zwarte draden over.

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Regula Maria Müller The song of the fairy 1998

‘In old medieval stories it is said that bells scare away supernatural creatures, such as dwarves. The sound of bells stops the devil from coming to collect human children. After each sound, high or low, the bells ring for luck or misfortune. In the case of the shoes for good luck.’ (Regula Maria Müller, 1998)

Regula Maria Müller Het lied van de fee 1998

‘In oude Middeleeuwse verhalen wordt verteld dat bellen bovennatuurlijke wezens, zoals dwergen, afschrikken. Het geluid van bellen verhindert dat de duivel de mensenkinderen komt halen. Na iedere klank, hoog of laag, slaan de bellen/klokken voor geluk of ongeluk. In het geval van de schoentjes voor geluk.’ (Regula Maria Müller, 1998)

Hella Jongerius Mikkel

2009

The ‘Mikkel’ tapestry is part of a series created for a collaboration between IKEA and UNICEF. The series was inspired by animals featured in Swedish fairy tales. Mikkel is a popular name for the fox. “Animals have already been featured in much of my earlier work; they trigger first and foremost the imagination. An animal has the power to be familiar; expressing moods comparable to the moods of human beings, and at the same time an animal remains puzzling,” says Hella Jongerius.

Hella Jongerius Mikkel

2009

Hella Jongerius heeft drie wandkleden ontworpen voor IKEA met daarop dieren (een vos, geit en konijn) uit Zweedse sprookjes. De serie is onderdeel van een samenwerking tussen IKEA en UNICEF. ‘Mikkel’ is een populaire Zweedse vos.

Jongerius koos voor dieren omdat deze in de eerste plaats tot de verbeelding spreken. 'Dieren zijn herkenbaar, hun expressie is vergelijkbaar met menselijke emotie, maar tegelijkertijd blijven dieren een raadsel', aldus de ontwerpster.

Lam de Wolf

Gouden Kooitjes (Golden Cages) 2009

Lam de Wolf: ‘A Chinese manonce told me this story: When the Chinese farmer came to the city to earn money, the noise and hecticness of life in the city took some getting used to. At night, he struggled to sleep. He made a cage, put a cricket inside, and hung it above his bed. The sound of the cricket reminded him of being home in the countryside. (...) The feeling of freedom, the desire is perfectly depicted here.’

Lam de Wolf Gouden Kooitjes 2009

Lam de Wolf: ‘Een Chinees vertelde me het volgende verhaal: Toen de Chinese boer naar de stad kwam om geld te verdienen, moest hij erg wennen aan het lawaai, de hectiek van het stadsleven. 's Nachts kon hij slecht slapen. Hij maakte een kooitje, stopte er een krekel in en hing het boven zijn bed. Het geluid van de krekel gaf hem het gevoel thuis op het platteland te zijn. (...) Het vrijheidsgevoel, het verlangen is hier optimaal verbeeld.’

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Christiaan Bastiaans

The Madonna of Humility (in the year of the plague)

2001

People whose lives are marked by a struggle to survive is a recurrent theme in Christiaan Bastiaans’ work. This piece is taken from the series 'Hurt Models,' in which Bastiaans researched abused and forcefully recruited child soldiers in Sierra Leone. Bastiaans was fascinated by the bizarre way in which the children dressed, creating a distinct identity for themselves. He was also inspired by 15th-century paintings of the Madonna of Humility, in which Mary offers protection and comfort. Suffering and protection are intertwined in this work.

Christiaan Bastiaans

Madonna van de Nederigheid (in het jaar van de pest) 2001

Dit werk is onderdeel van de serie 'Hurt Models' en verenigt zowel bescherming als lijden in één beeld. Het is gebaseerd op het onderzoek dat Christiaan Bastiaans deed naar misbruikte kindsoldaten in Sierra Leone. De kleding van de kindsoldaten wordt als camouflage en afschrikking gebruikt. Bastiaans was gefascineerd door de wijze waarop de kinderen zij zichzelf een eigen identiteit geven middels hun kleding. Ook raakte hij geïnspireerd door 15e-eeuwse schilderstukken van Madonna van de Nederigheid, waarin Maria bescherming en troost biedt.

unknown maker

cloth with tree of life and dragon (batik imitation) nineteenth century

The concept of the tree of life is sacred to most cultures. It is a symbol of immortality as well as of growth and strength. The tree of life is a motif commonly found on chintz textiles. Originally,

chintz was a brightly coloured cotton cloth from India. The chintzes often had beautifully printed and painted motifs like the tree of life and a variety of blooming trees or exotic flowers, typically on a light, plain background.

maker onbekend

doek met levensboom en draak (imitatiebatik) / negentiende eeuw

Het concept van de levensboom is voor de meeste culturen heilig. Het is een symbool van

onsterfelijkheid en van groei en kracht. De

levensboom is een motief dat vaak voorkomt op chintz textiel. Oorspronkelijk was chintz een felgekleurde katoenen doek uit India. De chintzen waren vaak bedrukte en beschilderd met prachtige motieven zoals de levensboom en een verscheidenheid aan bloeiende bomen of exotische bloemen, meestal op een lichte, simpele achtergrond. unknown maker untitled circa 1900 collection TextielMuseum

This scene most likely depicts subjects from Omar Khayyam’s collection of poems called Rubaiyat. Omar Khayyam was a famed Persian poet, mathematician and astronomer, and a true rebel who openly wrote about drinking, singing and dancing in the conservative Islamic world of the 11th century. This scene illustrates a number of classic themes found in Persian poetry: lovers, wine, music and the beauty of nature. The text next to the figures are verses from the poems.

maker onbekend zonder titel circa 1900

Deze scène toont waarschijnlijk onderwerpen uit Omar Khayyam's gedichtenbundel Rubaiyat. Omar Khayyam was een beroemde Perzische dichter, wiskundige en astronoom. Hij was ook een echte rebel die openlijk schreef over drinken, zingen en dansen in de conservatieve islamitische wereld van de 11e eeuw. Deze scène illustreert een aantal klassieke thema's uit de Perzische poëzie: minnaars, wijn, muziek en de schoonheid van de natuur. De tekst naast de figuren zijn verzen uit de gedichten.

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Hans Beers untitled

circa 1890-1925

Possibly a symbolic piece, this tapestry can be interpreted in a number of ways. The catfish depicted on the left is a symbol of the origin of life or longevity. It can also symbolise a spiritual transformation. The flow of small fish and flowers could suggest the flow and harmony of the universe. We do not know exactly what Hans Beers’ intention was. Which story do you think the tapestry could tell?

Hans Beers zonder titel circa 1890-1925

Dit wandtapijt kan op verschillende manieren worden geïnterpreteerd en is mogelijk een symbolisch stuk. De meerval die links wordt afgebeeld is een symbool voor de oorsprong van het leven of de levensduur. Het kan ook een symbolische transformatie symboliseren. Eventueel verbeeld de stroom van kleine vissen en bloemen de flow en harmonie van het universum. We weten niet precies wat de bedoeling was van Hans Beers. Welk verhaal denk je dat het tapijt zou kunnen vertellen? Lex Horn Rehoboth 1962-1963 collection TextielMuseum

This tapestry depicts a passage from Genesis, the first book of the Bible. The story relates how Isaac settled in the Valley of Gerar and reopened the wells that had been dug in the time of his father Abraham. With dimensions almost larger than life, the tapestry shows the flow of people and sheep to the well. The bright colours and diagonal lines create a dynamic scene.

Lex Horn Rehoboth 1962-1963

Dit wandtapijt verbeeldt een passage uit Genesis, het eerste boek van de Bijbel. Het verhaal vertelt hoe Isaac zich in de Vallei van Gerar vestigde en de putten heropende die in de tijd van zijn vader Abraham waren gegraven. Met deze enorme dimensies, laat het tapijt de stroom van mensen en schapen naar de put zien. De felle kleuren en diagonale lijnen zorgen voor een dynamisch tafereel.

Kustaa Saksi

Herbarium of Dreams 2013

'Herbarium of Dreams' is part of a series called 'Hypnopompic'. The series’ name comes from the dormant state between sleeping and waking in which one can experience hallucinations. The senses are then confused and produce illusions that seem lifelike. Kustaa Saksi himself experiences patterns and structures during migraine attacks. These impressions and knowledge have all been incorporated into this psychedelic series. The tapestry shows a wonderous world populated with animals, plants, shadows and patterns.

Kustaa Saksi

Herbarium of Dreams 2013

Dit wandkleed is onderdeel van de serie

'Hypnopompic', vernoemd naar de sluimerstaat tussen slapen en waken waarin men hallucinaties kan ervaren. De zintuigen zijn dan in de war en produceren illusies die levensecht overkomen. Zelf ervaart Saksi patronen en structuren tijdens

migraineaanvallen. Al deze kennis en indrukken zijn verwerkt in de psychedelische wandkleden uit de serie Hypnopompic. Dit werk laat een wondere wereld zien bevolkt met beesten, planten, schimmen en patronen.

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Kustaa Saksi Arachne's Web 2013

Kustaa Saksi is interested in neurological and optical phenomena. Throughout time, these 'tricks of the brain' have contributed to the development of ornamentation. Saksi himself experiences patterns and structures during migraine attacks. These impressions and knowledge have all been

incorporated in the psychedelic tapestries from the ‘Hypnopompic’ series.

The name of this tapestry refers to a Greek myth about a weaver who challenged the goddess Athena and was consequently transformed into a spider.

Kustaa Saksi Arachne's Web 2013

Kustaa Saksi is geïnteresseerd in neurologische en optische verschijnselen. Door de tijden heen hebben deze ‘trucs van het brein’ bijgedragen aan de ontwikkeling van het ornament. Zelf ervaart Saksi patronen en structuren tijdens migraineaanvallen. Al deze kennis en indrukken zijn verwerkt in de psychedelische wandkleden uit de serie Hypnopompic.

De titel van dit wandkleed verwijst naar een Griekse mythe over een weefster die de godin Athena uitdaagde en als straf in een spin werd veranderd. Regula Maria Müller

Meena of punica granatum 2015

Regula Müller (April 2017): "Meena is a long 'Fraisenkette'. A Fraisenkette is a protective amulet. (...) I came across the name Meena in a newspaper article in the NRC about honour based violence against women. This article was accompanied by a photo of an Afghan woman. She survived fifteen lashes, on her face you could see the scars. Her name is Meena. The glass shapes resemble pomegranate seeds, which tear open, but also refer to abstract portraits of women who are the victim of honour based violence.”

Regula Maria Müller Meena of punica granatum 2015

Regula Müller (april 2017): “Meena is een lange ‘Fraisenkette’. Een Fraisenkette is een beschermend amulet. (...) De naam Meena kwam ik tegen in een krantenartikel in de NRC over eergeweld tegen vrouwen. Bij dit artikel stond een foto van een Afghaanse vrouw. Zij overleefde vijftien bijlslagen en op haar gezicht waren de littekens te zien. Haar naam is Meena. De glazen vormen hebben de vorm van granaatappelpitten, die openscheuren, maar verwijzen ook naar abstracte portretten van vrouwen, die slachtoffer zijn van eerwraak.'

Studio Formafantasma Colony

2011

The ‘Colony’ tapestries serve as conversation pieces that relate the cultural-political effects of Italian imperialism in former colonies Libya, Eritrea and Ethiopia to contemporary geopolitical issues such as migration.

The 'Asmara' piece depicts an image of the modernist architecture of the Fiat Tagliero petrol station in the Eritrean capital Asmara and the main African migrant routes in the year 2011. The 'Tripoli' piece depicts an image of the modernist 'la casa coloniale' against the background of the urban plan of Tripoli, anno 1923.

Studio Formafantasma Colony

2011

Deze wandkleden fungeren als conversation pieces, die de effecten van het Italiaanse imperialisme in de voormalige koloniën Libië, Eritrea en Ethiopië in verband brengen met hedendaagse geopolitieke kwesties zoals migratie.

Het hoofdmotief van 'Asmara' is een afbeelding van de modernistische architectuur van het benzinestation Fiat Tagliero in Asmara. In de hoek rechtsboven zijn de Afrikaanse migrantenroutes anno 2011

weergegeven. Als hoofdmotief voor 'Tripoli' (Libië) is gekozen voor een afbeelding van het modernistische 'la casa coloniale' tegen de achtergrond van het stedenbouwkundig plan van Tripoli, anno 1923.

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Willemijn de Greef

Red from the Weavings series 2006

Willemijn de Greef:' 'Weavings’ is about thought processes, the interweaving of subjects. About where I come from, where I grew up. About connections, family and history. It is about how I experience and read things. Familiar shapes have been transformed into more abstract forms. I speak the language of jewelry. [...] I look with the eyes of a jewellery maker, down to the smallest detail. I want to show the viewer what my eyes see. These are my interpretations of Zeeland's regional and ornamental costumes.’

Willemijn de Greef Rood uit serie: Weefsels 2006

Willemijn de Greef:' 'Weefsels' [...] gaat over gedachtengangen, het verweven van onderwerpen. Over waar ik vandaan kom, ben opgegroeid. Over verbintenissen, familie en geschiedenis. Het gaat over hoe ik dingen ervaar, lees. Herkenbare vormen zijn veranderd in meer abstracte vormen. De taal die ik spreek is die van sieraden. [...] Ik wil de kijker laten zien wat mijn ogen zien. Dit zijn mijn interpretaties van de Zeeuwse streek- en sieradendracht.'

Christine van Zeegen Christ Ascending

design by Adrianus van Zeegen 1915

This embroidery seems to resemble both a lily and an orchid. These flowers often symbolize

femininity and sexuality. The dramatic concavity provokes associations with the feminine, yet its prominent spadix indicates the phallic. Sister and brother Van Zeegen made this work at a time when many Dutch artists and writers were immensely interested in philosophical theories discussing the balance between opposites like male and female, spirit and matter, etc. The title ‘Christ Ascending’ could indicate how the divine can be found in a perfect harmony between the sexes.

Christine van Zeegen Christus Hemelvaart

ontwerp door Adrianus van Zeegen 1915

Dit borduurwerk lijkt zowel op een lelie als op een orchidee. Deze bloemen staan vaak symbool voor vrouwelijkheid en seksualiteit. De dramatische holte roept associaties op met het vrouwelijke, maar de prominente spadix duidt op het fallische. Zus en broer Van Zeegen maakte dit werk in een tijd waarin veel Nederlandse kunstenaars en schrijvers zeer

geïnteresseerd waren in filosofische theorieën over de balans tussen tegenstellingen als mannelijk en vrouwelijk, geest en materie, enz. De titel 'Christus Hemelvaart' zou kunnen aanduiden hoe het goddelijke kan worden gevonden in een perfecte harmonie tussen de seksen.

Anne van de Pals Blauwe Dubbelrug 2008

Anne van de Pals' woollen sculpture depicts the instinctive human longing for contact and

connection. The two vertebral columns are made of a single blanket. ‘Connection makes things

bearable', Van de Pals explains. She discovered wool as a sculptural material during her time at the Rijksakademie in Amsterdam. In this period, when she became very ill, she had a woollen blanket covering her, closely touching her skin. She folded it into a human figure for support and reassurance.

Anne van de Pals Blauwe Dubbelrug 2008

Anne van de Pals verbeeldt met haar wollen beeld de instinctieve menselijke drang naar contact en

verbondenheid. De twee versmolten wervelkolommen zijn uit één enkele deken gemaakt. ‘Verbinding maakt dingen dragelijk’, verklaart Van de Pals. Wol als sculpturaal materiaal ontdekt zij als ze tijdens haar studie aan de Rijksacademie in Amsterdam op een zeker moment erg ziek wordt. Een wollen deken ligt haar op dat moment letterlijk dicht op de huid. Ze plooit het tot een mensfiguur voor steun en geruststelling.

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This physical experience drove her to explore wool as an expressive material. Célio Braga Memory Unsettled 2016 collection TextielMuseum made at the TextielLab

The embroideries in this installation refer to life, death, transience, sexuality, love and illness. Partly done on the computer controlled embroidery machine in the TextielLab, partly done by hand by the artist himself, Braga decorated various patches of fabric that he has collected during his many travels.

Flowers are the main motif due to Braga's fascination with Dutch and Flemish 16th and 17th century Vanitas still lifes, symbolising the inevitability of death and the 'vanity' of earthly pleasures. Moreover, motifs such as crosses, scars, organs and hearts refer to Braga’s Catholic background. Célio Braga Memory Unsettled 2016 collectie TextielMuseum gemaakt in het TextielLab

De borduursels van deze installatie gaan over het leven, dood, vergankelijkheid, seksualiteit, liefde en ziekte. De borduursels werden met de

computergestuurde borduurmachine, aangevuld met handwerk van de kunstenaar, uitgewerkt op

verschillende lapjes stof die hij in de loop der jaren bij zijn vele reizen heeft verzameld.

Bloemen zijn het hoofdmotief van de borduursels. Deze keuze heeft alles te maken met Braga’s

fascinatie voor de Vanitas stillevens uit de Vlaamse en Hollandse 16de en 17de-eeuwse schilderkunst. Zij symboliseren de onvermijdelijkheid van de dood en de ‘ijdelheid’ van de aardse genoegens. Naast de

bloemen verwijzen motieven als kruizen, littekens, organen en harten naar de katholieke achtergrond van de uit Brazilië afkomstige Célio Braga.

Jaime Hayon ¿Que pasa guey? 2011

collection TextielMuseum made in the TextielLab

Interested in street culture and graffiti, Hayon took the fighting masks of Mexican luchador wrestlers as a starting point for creating his playful oversized masks in the TextielLab.

Jamie Hayon’s work plays endlessly with humour, fantasy, colour, form and patterns. His work tells stories, as he explains: ‘Life is inspiration. Art has always been very important to me. But I’m, also curious about things that are a bit strange, like the carnival at the beginning of the century and the Mexican luchador wrestlers.’

Jaime Hayon ¿Que pasa guey? 2011

Geïnteresseerd in straatcultuur en graffiti, nam deze ontwerper de vechtmaskers van Mexicaanse luchador-worstelaars tot uitgangspunt voor zijn speelse maxi-versies, die hij maakte in het TextielLab. Jaime Hayon’s werk is een constant spel met humor, fantasie, kleur, vorm en dessins dat, zoals hij uitlegt, verhalen vertelt: 'Leven is inspiratie. Kunst is altijd heel belangrijk voor me geweest. Maar ik ben ook nieuwsgierig naar dingen die een beetje vreemd zijn, zoals het carnaval aan het begin van de eeuw en de Mexicaanse luchador-worstelaars'.

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Appendix 3 - Yarns and Sustainability display

Fig. 11: Sketches and designs of the ‘Yarns and Sustainability’ display created by Adelheid and I

Fig. 12: Previous sketches envisioned by the graphic studio Rawcolor

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Fig. 13: My frequent visits in the yarn stock of the TextielLab and freshly spinned ‘show cones’

Fig. 14: Build-up of the ‘Yarns and Sustainability’ display

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Fig.15: The final look

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Fig. 16: Show cones with labels and infographics written by me

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Fig. 17: Infographics on the walls co-written by Adelheid and I

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Fig. 18: Laser cutting and embroidery project by Wieki Somers, text written by me

Fig. 19: Laser cutting and embroidery project by Miriam van der Lubber & Van Eijk, text written by me

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Wilt u weten hoe sommige van de

grond-stoffen in onze garens eruit zien? Bekijk

de grondstoffen tentoonstelling in onze

bibliotheek op de tweede verdieping.

Want to know what some of the raw

materials in our yarns look like?

Check out the raw materials display

in our library on the second floor.

Facts & Figures

GRONDSTOFFEN /

RAW MATERIALS

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Alle kunstenaars en ontwerpers die

in het TextielLab werken krijgen

aan het begin van hun onderzoek

pasklaar advies over welke garens

ze moeten gebruiken.

All artists and designers working

in the TextielLab receive tailored

advice on which yarns to use

when starting their research.

Facts & Figures

ADVIES /

ADVICE

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Het TextielLab gebruikt ongeveer

3.000 kg garens per maand.

The TextielLab uses around

3.000 kg yarns a month.

3.000 kg

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Onze voorraad bevat ongeveer

180 soorten garen.

Our stock contains around

180 types of yarn.

180

Facts & Figures

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Yarns are either multifilament

(spun out of several strands) or

monofilament (consisting of a

single strand).

Facts & Figures

MULTI- / MONO-FILAMENT

Garens zijn ofwel multifilament

(gesponnen uit meerdere strengen)

of monofilament (bestaande uit

één streng).

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De garens kunnen om elkaar gesponnen

worden om een nieuwe kleur of een

speciaal effect te creëren.

Facts & Figures

GESPONNEN GARENS

Yarns can be twined together to

create a new colour or special effect.

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Als er een bepaalde kleur nodig is,

kunnen we een tint kiezen uit een

kleurenpalet van onze leveranciers,

die een recept maken voor die

specifieke kleur.

If a specific colour is needed, we can

choose a shade from a colour palette

provided by our suppliers, who create

a recipe for that particular colour.

Facts & Figures

KLEUR /

COLOUR

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Facts & Figures

1 KG

Eén garenklos voor weven, tuften of

breien is gelijk aan één kilogram garen.

One yarn cone for weaving, tufting or

knitting equals one kilogram of yarn.

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Het TextielLab koopt garens per gewicht

en niet per meter. Omdat ieder garen een

andere dikte heeft is het kopen van een

garen per meter misleidend. Een dun garen

wordt sneller opgebruikt dan een dik garen.

Facts & Figures

GARENS PER GEWICHT

The TextielLab buys yarns by weight and

not by length. Each yarn has a different

thickness, and so buying by length would

be misleading since a thin yarn would

be used much faster than a thick one.

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De meeste garens die we bestellen

zijn al geverfd, behalve garens voor

tuften. Deze verven we in huis zoveel

mogelijk met plantaardige pigmenten.

Facts & Figures

PLANTAARDIGE PIGMENTEN

The majority of yarns we order are

already dyed, apart from tufting

yarns which we dye ourselves with

natural dyes.

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Natuurlijk – plantaardig

BAMBOO

WAT IS HET?

Dit garen is gemaakt van bamboe. Het wordt ge-produceerd door de houtachtige delen van de bamboe-plant te pletten. Vervolgens worden natuurlijke of chemische enzymen gebruikt om de schil van de bamboe tot een papperige massa af te breken, zodat de vezels mechanisch kunnen worden gekamd en tot garen kunnen worden gesponnen.

WAAR IS HET GOED VOOR?

Bamboegaren is zachter dan katoen en heeft een textuur die lijkt op een mix van kasjmier en zijde. Voel het zelf!

HOE ZIT HET MET DUURZAAMHEID?

Een veel voorkomende aanname is dat bamboe, als een hernieuwbare hulpbron, een milieuvriendelijke keuze is. Bamboe is het snelst groeiende gras en hoeft niet opnieuw te worden geplant na het oogsten. Wel maakt de verwerking van bamboe gebruik van chemi-caliën die schadelijk kunnen zijn voor mens en milieu.

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WHAT IS IT?

This yarn is made from bamboo. It is produced by crushing the woody parts of the bamboo plant. Subsequently, natural or chemical enzymes are used to break the bamboo’s skin into a mushy mass so that the fibres can be mechanically combed out and spun into yarn.

WHAT IS IT GOOD FOR?

Bamboo yarn is softer than cotton with a texture similar to a blend of cashmere and silk. ‘Feel it for yourself!’

WHAT ABOUT SUSTAINABILITY?

A common assumption is that bamboo, as a renewable resource, is an eco-friendly choice. Bamboo is the fastest growing grass and does not require replanting after harvesting. However, the processing of bamboo uses chemicals that can be harmful to both people and the environment.

Natural – plant-based

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HENNEP

WAT IS HET?

Dit garen is gemaakt van de lange vezels in de stengel van de hennepplant.

Zodra het is verwerkt tot garen, heeft hennep een textuur ergens tussen linnen en canvas. Pak een klos linnen garen om het te vergelijken!

Hennep is een zeer duurzaam gewas met beperkte impact op het milieu. De hennepplant heeft weinig pesticiden (hij is van nature bestand tegen de meeste insecten), herbiciden of fungiciden nodig en gedijt op minder water dan de meeste gewassen. Hennepgaren is een van de meest milieuvriendelijke garens die momenteel beschikbaar zijn.

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WHAT IS IT?

This yarn is made from the long fibres in the stalk of the hemp plant. The fibers from the outer layer are stripped from the hemp plant and spun together to produce a continuous thread.

Once it is processed into yarn, hemp has a texture somewhere between linen and canvas. Grab a cone of linen yarn to compare!

Hemp is a highly sustainable, low-impact crop. The hemp plant needs few pesticides (it is pest-resistant), herbicides or fungicides and thrives on less water than most crops. Hemp yarn is one of the most environmentally friendly yarns currently available.

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BIOLOGISCH KATOEN GOTS

WAT IS HET?

Katoen is een zachte, donzige vezel die in een bol rond de zaden van katoenplanten groeit. Na het oogsten worden deze korte vezels tot langere filamenten gesponnen om garen te maken. WAAR IS HET GOED VOOR?

Katoen is zacht, koel, sterk en verfabsorberend. De slijtvastheid zorgt voor een stof die lang mooi blijft. HOE ZIT HET MET DUURZAAMHEID?

Omdat katoen een natuurlijke vezel is, is het biologisch afbreekbaar. Maar de hoeveelheid water en pesticiden die worden gebruikt om katoen te verbouwen is alarmerend en de pesticiden zijn schadelijk voor de gezondheid van katoenboeren. Een betere keuze is biologisch katoen zoals deze, dat GOTS (Global Organic Textile Standard) gecertificeerd is. Dit katoen wordt geproduceerd in Zuid-Frankrijk, wat de CO2-uitstoot van transport beperkt. Biologisch katoen heeft alsnog veel water nodig om te cultiveren.

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WHAT IS IT?

Cotton is a soft, fluffy fibre that grows in a ball around the seeds of cotton plants. After harvesting, these short fibres are spun into longer filaments to make yarn.

Cotton is soft, cool, strong and dye absorbent. Its durability ensures a fabric that will retain its beauty for a long time.

Cotton is a natural fibre, so it is biodegradable. But the amount of water and pesticides used to grow cotton, together with the impact these have on cotton farmers’ health, are alarming. A more eco-conscious choice is organic cotton such as this one, which is GOTS (Global Organic Textile Standard) certified. This cotton is produced in the South of France, which limits transport distances and CO2 emissions. Still, the crop needs a lot of water to cultivate.

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KATOEN

gemerceriseerd katoen

WAT IS HET?

Katoen is een zachte, donzige vezel die in een bol rond de zaden van katoenplanten groeit. Het katoen dat je hier ziet is gemerceriseerd katoen.

Het verschil tussen gemerceriseerd en niet-gemerceriseerd katoen zit in het afwerkingsproces van het garen. Gemerceriseerd katoen is gemakkelijker te verven en houdt de kleur langer vast. Ondertussen behoudt niet-gemerceriseerd katoen de natuurlijke uitstraling van katoen. Probeer het verschil te zien tussen gemerceriseerd en biologisch katoen GOTS door ze naast elkaar te houden.

Omdat katoen een natuurlijke vezel is, is het biologisch afbreekbaar. Maar de hoeveelheid water en pesticiden die worden gebruikt om katoen te verbouwen is alarmerend en de pesticiden zijn schadelijk voor de gezondheid van katoenboeren. Waar mogelijk gebruiken we GOTS-gecertificeerd biologisch katoen - de kegel hiernaast.

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WHAT IS IT?

Cotton is a soft, fluffy fibre that grows in a ball around the seeds of cotton plants. The cotton you see here is mercerised cotton.

The difference between mercerised and unmercerised cotton lies in the finishing process of the yarn. Mercerised cotton is easier to dye and holds the colour longer. Meanwhile, unmercerised cotton retains cotton’s natural look. Try and see the difference between mercerised and the organic cotton GOTS by holding them next to each other.

Cotton is a natural fibre, so it is biodegradable. But the amount of water and pesticides used to grow cotton, together with the impact these have on cotton farmers’ health, are alarming. Whenever possible, we use GOTS-certified organic cotton – the cone next to this one.

COTTON

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LINNEN

WAT IS HET?

Linnen is een sterk, slijtvast garen gemaakt van de vezels van de vlasplant. Linnengaren wordt geprodu-ceerd door de lange cellulosevezels te onttrekken uit het midden van deze dunne plant.

Linnengaren is stijf en geeft het eindproduct een lekker ruw gevoel.

Linnen is erg duurzaam. De vlasplant heeft niet veel energie of water nodig om te groeien. Net als bij biologisch katoen kunnen sommige pigmenten die worden gebruikt om linnen te verven schadelijk zijn voor het milieu, maar als het onbehandeld is (d.w.z. niet geverfd), is linnen volledig biologisch afbreekbaar.

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WHAT IS IT?

Linen is a strong, durable yarn made from the fibres of the flax plant. Linen yarn is produced by extracting the long cellulose fibres from the centre of this tall thin plant.

Linen yarn is stiff and gives the final product a nice rough feeling.

Linen is highly sustainable. The flax plant does not require much energy or water resources to produce. However, as with organic cotton, some of the dyes used to colour linen can be environmentally harmful. But when untreated (i.e. not dyed), linen is fully biodegradable.

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VISCOSE

WAT IS HET?

Viscose is een synthetisch garen met een organische basis, gemaakt van cellulose (houtpulp) vezel. WAAR IS HET GOED VOOR?

Viscose kan net als katoen en andere plantaardige materialen worden geverfd op diverse, kleurrijke manieren. Vanwege zijn zijdeachtige glans wordt het gebruikt om delen van een ontwerp te accentueren. HOE ZIT HET MET DUURZAAMHEID?

Omdat viscose is gemaakt van hernieuwbaar materiaal, wordt het vaak beschouwd als milieuvriendelijk en duurzaam. De cellulose die wordt gebruikt om viscose te produceren, moet echter worden behandeld met chemicaliën zoals natronloog, ammoniak, aceton en zwavelzuur.

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