Research into textiles _ Keď sa skúma textil.

Slovenská archeológia

This article briefly presents the history of textile archaeology in Slovakia, the foundations of which were laid out by Karol Pieta. With his scientific curiosity and hunger for the new adventures, Karol Pieta has been crossing the boundaries of his discipline his whole life. The conditions for the preservation of organic materials are generally very unfavourable, which is why they were often overlooked by archaeologists. Interest for textiles first started with remains hidden in tubular anklets dated to the La Tène Period, initially noticed and studied by Karol Pieta. The most unique ones come from Nové Zámky and shed light on an embroidery technique of the Late Iron Age. The majority of prehistoric textiles in Slovakia are dated to the La Tène Period and it is comparable with finds from the Czech Republic and Austria. A find from an unknown location analysed in 2021, can with certainty be assigned to the corpus of La Tène Period textiles. It can be assumed that linen tabbies made of simple z-spun threads were preferred in this period. Textiles were found in different circumstances, usually mineralised on metal artefacts in graves. The primary use of these textiles was for clothing and ritual wrappings. A secondary use is evidenced by textile fillings of bronze hollow anklets. A Celtic female dress was reconstructed based on the position of artefacts found in the graves, as well on the observations of La Tène Period textiles, in particular the Nové Zámky embroidery. It is interesting to see, that textiles were apparently used as a code to reflect social and aesthetic values. In society they played an important role in the definition and expression of social space and of group relations.

2015

In: Z. Robak – M. Ruttkay (eds.), The Celts - The Germans - The Slavs. A tribute Anthology to Karol Pieta. Slovenská archeológia, vol. 69, no. Suppl. 2, 69-79, 2021

This article briefly presents the history of textile archaeology in Slovakia, the foundations of which were laid out by Karol Pieta. With his scientific curiosity and hunger for the new adventures, Karol Pieta has been crossing the boundaries of his discipline his whole life. The conditions for the preservation of organic materials are generally very unfavourable, which is why they were often overlooked by archaeologists. Interest for textiles first started with remains hidden in tubular anklets dated to the La Tène Period, initially noticed and studied by Karol Pieta. The most unique ones come from Nové Zámky and shed light on an embroidery technique of the Late Iron Age. The majority of prehistoric textiles in Slovakia are dated to the La Tène Period and it is comparable with finds from the Czech Republic and Austria. A find from an unknown location analysed in 2021, can with certainty be assigned to the corpus of La Tène Period textiles. It can be assumed that linen tabbies made of simple z-spun threads were preferred in this period. Textiles were found in different circumstances, usually mineralised on metal artefacts in graves. The primary use of these textiles was for clothing and ritual wrappings. A secondary use is evidenced by textile fillings of bronze hollow anklets. A Celtic female dress was reconstructed based on the position of artefacts found in the graves, as well on the observations of La Tène Period textiles, in particular the Nové Zámky embroidery. It is interesting to see, that textiles were apparently used as a code to reflect social and aesthetic values. In society they played an important role in the definition and expression of social space and of group relations.

Visual Dictionary In Textiles & Apparel _Elsayed Elnashar, Oksana Zakharkevich, Galina Shvets, Anna Selezneva

The appearance of textiles, which by common perception is their main attribute, is shaped by many different factors, such as the raw material, ornamentation and structure, both as an external form and a manner of connecting fibers and other elements of textiles. It is not always realised by contemporary artists and designers that the same factors also determine the durability, conservation and storage methods. The paper briefly describes the main factors constituting textiles, showing how important the awareness of their role is to all who deal with textiles, from artists and designers, conservators and critics, to visitors to a gallery and museum exhibitions. It also shows that historical textiles, contemporary textile art and industrial textile products only appear to constitute separate independent worlds and in fact influence each other

Traditional textiles have played a crucial role in creating awareness as cultural heritage and building a cultural identity and sustainability in contemporary design culture in Turkey. However, traditional textile weaving is threatened with extinction due to the need for specialist skills involved in hand weaving, the rapid growth of industrial production is facing with the treat of extinction.

The approach to fashion design and system build around it must be faced in cross-sectional way; to work on fashion doesn’t mean develop a dresses collection but it refers to the analysis of design processes that generate the project intention. The paper focuses on the territorial dimension of the project, which is meant to be a resource for the development and support of local economies, helping them to increase the value of their cultural identity and their design process as well as production’s know how. Considering such observations, we can identify a new trend aiming to recover settled in time values, through the strong relationship that connects an individual to a community and manual arts to history and local identity.

If Textile Designers do not embark on and utilise textile research we will be left in a ‘sole less’ vacuum. The following article aims to show the benefit of textile design research to the textile designer. Textile design is increasingly complex, and influenced by a number of factors such as ethical textiles, sustainability, fast versus slow fashion, new digital technology and science. It is therefore necessary for increased research by the textile designer into these areas in order to understand and gain knowledge that can be incorporated into the vast textile industry so that we produce the most relevant cloth and fabrics, that satisfy both consumer and ethical requirements. “Work on good prose has three steps: a musical stage when its composed, an architectonic stage when its built and textile stage when its woven” Walter Benjamin 1892-1940. [1]

Applications of digital technology in historic textile researchICOM-CC Textile Working Group Newsletter 35 (January 2014): 19–20..