2018 Biennial Symposium Preview! - The Social Fabric: Deep Local to Pan Global Volume 30. Number 1. SpriNg 2018 - Textile Society of America
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2018 Biennial Symposium Preview!
The Social Fabric: Deep Local to Pan Global
Volume 30. Number 1. Spring 2018
Ikat weaving from Binding the Clouds: The Art
of Central Asian Ikat at the Textile Museum in
Washington, DC.
Photo credit: Caroline Hayes Charuk
Newsletter Team
Senior Editor: Wendy Weiss (TSA Board Member/Director of Communications)
Board of Directors
Editor: Natasha Thoreson
Vita Plume
Designer: Meredith Affleck
President
Member News Editors: Caroline Hayes Charuk (TSA General Manager), Lila Stone vitaplume@gmail.com
Editorial Assistance: Susan Moss and Sarah Molina
Lisa Kriner
Vice President/President Elect
lisa_kriner@berea.edu
Our Mission
Roxane Shaughnessy
The Textile Society of America is a 501(c)3 nonprofit that provides an international forum for Past President
the exchange and dissemination of textile knowledge from artistic, cultural, economic, historic, rshaughnessy@textilemuseum.ca
political, social, and technical perspectives. Established in 1987, TSA is governed by a Board of
Directors from museums and universities in North America. Our members worldwide include Owyn Ruck
curators and conservators, scholars and educators, artists, designers, makers, collectors, and Treasurer
others interested in textiles. TSA organizes biennial symposia. The juried papers presented owyn.ruck@gmail.com
at each symposium are published in the Proceedings available at http://digitalcommons.unl.
edu/textilesoc. It also organizes day- and week-long programs in locations throughout North Lesli Robertson
America and around the world that provide unique opportunities to learn about textiles in Recording Secretary
various contexts, to examine them up-close, and to meet colleagues with shared interests. TSA leslirobertson@yahoo.om
distributes a Newsletter and compiles a membership directory. These publications are included
Wendy Weiss
in TSA membership, and available on our website.
Director of Communications
wendyrweiss@gmail.com
About the Newsletter Catharine Ellis
Director of Internal Relations
catharine@ellistextiles.com
The Textile Society of America Newsletter is published two times a year as a member benefit and
serves to announce and report on the Biennial Symposia. In addition, the newsletter reports on Linda Eaton
TSA programs, international textile news, and lists conferences, courses, exhibitions, grants, job leaton@winterthur.org
postings, and tours. Advertising space is available. Details are at: http://textilesocietyofamerica.
org/wp-content/uploads/2012/06/TSA-Paid-Advertising-Guidelines_7_8_2016.pdf. Karen Hampton
khampton@khampton.com
Submissions are welcome.
Ann Peters
Recent newsletters can be downloaded from the TSA website as PDFs:
mundocomun@lightlink.com
http://textilesocietyofamerica.org/news/newsletters/
Newsletters dating from 1989 through 2004 are available on Digital Commons: Rowland Ricketts
http://digitalcommons.unl.edu/tsanews/ rickettr@indiana.edu
Lee Talbot
Newsletter Submission Guidelines: ltalbot@email.gwu.edu
To submit content to the Editor please e-mail newsletter@textilesociety.org with the subject
Ruth Barnes
line, “submission.” Text should be sent as Microsoft Word files and images should be sent as
ruth.barnes@yale.edu
individual JPEG files. Please include image captions and a one to three sentence author bio for
reviews and articles. Please keep articles and reviews to 600 words. Lauren Whitley
lwhitley@mfa.org
Dominique Cardon
Stay in Touch International Advisor to the Board
cardon.dominique@wanadoo.fr
eNews: In addition to the PDF newsletter, TSA distributes regular e-mails with up-to-date news
of programs and opportunities. Subscribe at http://textilesocietyofamerica.org/news/subscribe/
to keep up with program registration dates, scholarship and award opportunities, and news from
the field. Staff
Caroline Hayes Charuk
General Manager
caroline@textilesociety.org
Like us on Facebook: https://www.facebook.com/textilesocietyofamerica
Follow us on Twitter: @TextileSoc or on Instagram: @textilesociety
Find colleagues on LinkedIn: https://www.linkedin.com/company/textile-society-of-america
Spring 2018 Newsletter of the Textile Society of America Page 2
Spring 2018 Letter from the
Newsletter Contents
3 Letter from the Senior Editor
Senior Editor
4 Letter from the Editor It has been my privilege to serve as
the TSA Newsletter Editor for the duration of my
5 Letter from the President time on the board, beginning in Fall 2014. Now
it is time for me to pass the baton to Natasha
6 TSA News Thoreson who has been serving as copy-editor
• From the Nomination Committee for the last two years. While I rotate off the board
in September 2018, I will continue in the capacity
• Slate of Candidates of Senior Editor, helping new projects evolve and
• TSA “Meet Up” at the Textile Museum, Washington DC maintaining continuity with our publications.
• R. L. Shep Ethnic Textile Book Award 2017 Nominees
As I have done in the past, I urge members to
volunteer and assist in the work of the organiza-
13 Textile Society of America 30th Anniversary tion. Your participation is a valuable gift to TSA
• A Personal Connection to TSA and is a great stepping stone to taking on more
responsibility when you have the inclination to
14 Re: Gender Bend: Women in Wood, Men at the Loom do so. For example, share your writing expertise
with TSA publications by volunteering to write an
15 Coping with the Perils from Apparel article for the newsletter or blog.
We welcome exhibition, conference, and book
16 Book Reviews reviews; opinion pieces; international reports;
• Women Artisans of Morocco: Their Stories, Their Lives reviews or discussion of research tools in all
domains of textiles; and feature articles about
• From Tapestry to Fiber Art: The Lausanne Biennials 1962-1995
unique textile undertakings that do not fall in
• Inside the Royal Wardrobe: A Dress History of Queen Alexandra those categories. If you have a story to share
• TECHSTYLE Series 1.0: Ariadne’s Thread about a TSA member who has mentored you or
you have mentored, we would like to feature this
22 Featured Exhibitions content. Submit your ideas to Natasha or me.
• Color Decoded: The Textiles of Richard Landis As Newsletter Editor, I have worked to invite
TSA members to contribute and widen our pool
23 Member News of authors. For the most part, I have never met
the people I have asked to write! I use the TSA
27 2018 Biennial Symposium Preview Member Directory and look for people who
might have an interest in a particular subject.
• Keynote and Plenary Speakers
This system has worked great, and I want to thank
• Preliminary Program those of you with whom I have been in touch this
• Workshops and Tours way. I hope to meet you in Vancouver! If you have
• Financial Aid not already filled out your profile in the member
• Sponsors and Donors directory, I urge you to do so. If you have trouble
setting up your account, Caroline Hayes Charuk,
TSA General Manager, is ready to help you. Write
her at caroline@textilesociety.org
As Vita mentioned in her letter, TSA has evolved
in recent years. Both the leadership vision and
the results of the strategic planning process have
informed how the organization is directing efforts
to meet its goals both in staff and programs. I
am personally excited that the Board has clearly
responded to the call for greater diversity in
membership and programs with a committee
Spring 2018 Newsletter of the Textile Society of America Page 3
Letter from the Editor
formed to help us reach this goal. Now
it is incumbent on all of our members to
I am stepping into the role of Editor of the TSA Newsletter just
as I am stepping out of the role of Curator of the Helen Louise Allen Textile Collection
participate in making TSA a welcoming
at the University of Wisconsin-Madison. After three years working with that excep-
and meaningful place for all people
tional collection, I decided to move back to Minneapolis. This move echoes one I made
engaged in textile work.
roughly ten years ago. I quit a job with a social services organization to move back to
Whether Vancouver is your first or your Minneapolis, the city that had my heart. I ended up finding a job at the Weavers Guild
sixteenth TSA Symposium, be sure to of Minnesota, an incredible volunteer-driven maker’s space located within the equally
reach out to someone you don’t know. incredible Textile Center.
You will be delighted when you do. If you I can’t explain what drove me to the Weavers Guild. I wasn’t a weaver. Aside from a
are not able to attend the Symposium short but prolific phase of friendship bracelet making, I had little experience with fiber.
but are able to make a financial donation Surrounded by bulky cones of Shetland wool and fine spools of mercerized cotton,
to support someone else’s attendance, immersed in the rhythmic sound of clunking looms and the gentler whir of spinning
consider making a contribution. wheels, I quickly transformed into a textile person. I learned to weave, spin, sew, knit,
quilt, bead, and embroider. But more than that, I learned to talk textiles. The Guild
Our publications could not be possible
provided the invaluable opportunity to speak the language of technique and crafts-
without a team of volunteers contrib-
manship and to read in the intertwined, interlaced fibers the non-verbal language of
uting their expertise. We are fortunate
passion, heart, and soul.
to have Meredith Affleck designing
the newsletter. Lila Stone has kept our This leap of faith turned into a fascinating career working with textiles that has most
social media posts active and engaging. recently led me here, to the Textile Society of America. Like the Weavers Guild, the TSA
You can follow TSA on our social media is an incredible volunteer-driven organization and I am lucky to be a part of it.
pages to see what is going on at TSA, the
I see the TSA Newsletter as a place where ideas converge. The voices that contribute
Symposium, and textiles in general. You
to it are makers and scholars and philosophers and critics. Some voices are new, like
can also post on the TSA members-only
mine, and some have been with us since the start. Some voices celebrate textiles and
Facebook page.
the field’s potential and some challenge the institutions or conventions that seem to
Digital Commons at the University of weigh it down. But all add to the dynamic, varied, passionate conversation that TSA
Nebraska houses the TSA archives. The facilitates. I invite you to join the conversation. Let’s talk textiles.
publications committee has worked to
make all our Proceedings and Newslet-
ters available online. Sherry Ewaskow-
itz has led that effort. I anticipate that
all publications will be uploaded and
publicly available by the end of 2018 Natasha Thoreson
and easily accessed through our TSA
webpage. If you are presenting a paper
in Vancouver, you will have a chance to
meet Lynn Tinley, Proceedings Editor,
Every Donation Counts
at an open session designed to inform
authors about the guidelines for publi-
cation. Thank you all!
Finally, I want to thank you, the members, It’s easy to support TSA programs,
for making this opportunity such an awards, and scholarships.
exciting one for me. I am eager to watch
the various platforms of TSA evolve and
grow.
Donating online takes just 1 minute
www.textilesocietyofamerica.org/contribute
Wendy Weiss
Spring 2018 Newsletter of the Textile Society of America Page 4
Letter from the President
In 2016 – 2017 TSA implemented a new
are fortunate to have continuity through those members who
remain and new ideas from those stepping up to volunteer for
strategic plan. As a result of extensive research and input from four years of service. Please look for full details regarding the
members and leaders in the field, the Board has made a number 2018 candidates as well as details about the elections in this
of changes to TSA’s structure and staffing. TSA welcomes Caro- Newsletter. We thank everyone who has agreed to put their
line Hayes Charuk as the full-time General Manager of TSA’s name forward, and I encourage you all to vote and lend your
office! Caroline worked part-time as Membership Coordinator voice to the election of the next TSA Board.
prior to taking on this full-time position. I am pleased to say
that Caroline is settling into her new responsibilities, and it is a TSA’s fall Fundraising Drive was a great success—over
pleasure to work with her. $18,000.00 dollars were raised from 86 donors! This is a record
amount! Thanks to Catharine Ellis for her skill in organizing
We have also contracted ConferenceDirect to assist with orga- this Drive. I also want to thank everyone who contributed. TSA
nizing TSA Symposia. Our Senior Project Manager is Christy could not offer our Symposium, programs, or our scholarships
Norcross, and Jessica Brett is our local Vancouver Project and awards without this very generous support.
Manager.
This Newsletter is filled with all the exciting news about the
It is with great regret that I have accepted Sandra Peinado’s Vancouver Symposium. The Vancouver organizing team (Jean
resignation from the Board. Thank you, Sandy, for your service Kares, Bettina Matzkuhn, Ruth Scheuing, Michele Hardy, and
and contributions to the organization. Karen Hampton has a very enthusiastic and large team of volunteers) is working
agreed to join the Board, and we welcome her warmly. hard to bring us an exciting schedule of presentations and
There will also be changes to Newsletter staffing. Wendy Weiss events. Presenters have now confirmed their participation, and
will be stepping down as Editor after serving for four years. We the preliminary program is up on the website for you to peruse.
welcome Natasha Thoreson, who has agreed to take on this A wealth of exciting pre- and post-conference tours and work-
very important role. Natasha has been working with Wendy shops will be offered on a first-come first-serve basis.
on the past several Newsletters, and we are happy to have We are excited that Meghan O’Brien has agreed to be our
her step into the position of Editor. I am grateful that Wendy
keynote speaker. Meghan is a Northwest Coast weaver from the
will continue to provide her guidance and experience and will
community of Alert Bay, BC. Her innovative approach to tradi-
remain actively involved as TSA’s Senior Editor.
tional textile art forms connects to the rhythms and patterns of
As a result of the discussions around TSA and diversity, Aaron the natural world and creates a continuity between herself and
McIntosh, Karen Hampton, Karthika Audinet, Maria & her ancestors. Charllotte Kwon will provide the closing plenary.
Eduardo Portillo, and Eiluned Edwards now comprise a TSA ad Her company, Maiwa Handprints, has championed textiles,
hoc Diversity Committee. Ann Peters has been acting as TSA ethical trade, and cultural awareness. Maiwa supports tradi-
Board liaison, and Lesli Robertson is secretary to the group. We tional craft through an ethical business model and collaborates
look forward to receiving their recommendations on expanding with artisans to improve their social and economic situations.
TSA’s diversity and outreach at the September Board meeting in
The Symposium organizing team is working with immense
Vancouver.
enthusiasm and energy to host an exciting, engaging, and
The Program Committee (Lauren Whitley, Lee Talbot, and educational program. I invite you all to join us in Vancouver!
Roland Ricketts) recommended a new social and informal
It has been a busy 6 months. I want to acknowledge the amazing
event — a TSA Meet-Up. TSA’s first Meet-Up was hosted at
work of the TSA Board and Executive Committee, who have
the Textile Museum in Washington on April 5 in conjunction
taken leadership roles in all of TSA’s programs. It takes a small
with the Board’s spring meeting. I want to thank the entire
village of dedicated (approximately 40) members who gener-
Museum staff for welcoming us and particularly Lee Talbot, Lori
ously contribute huge amounts of time, energy, and expertise
Kartchner, and Sumru Belger Krody for providing tours of the
on committees and individual tasks to ensure that TSA can
beautiful exhibitions currently on view. It was an enjoyable as
accomplish all that we do. I especially want to thank each and
well as educational afternoon, followed by a lovely reception.
every one of our incredible volunteers. It is a huge honor and a
The Meet-Up provided a great opportunity for TSA members to
great pleasure to work with this amazing and passionate TSA
meet new and old friends and colleagues, as well as the current
team!
Board members. Keep an eye on the TSA E-News for upcoming
events!
The Nominations Committee (Roxane Shaughnessey, Lisa
Kriner, Lesli Robertson, Susan Brown, and Laura Camerlengo)
Vita Plume
has been working hard to fill the slate for the 2018-2022 TSA
TSA President 2016-2018
Board elections. In each election half of the Board off-cycles, we
Spring 2018 Newsletter of the Textile Society of America Page 5
TSA News
From the Nomination Committee
We are pleased to present a slate of exceptional candidates Please exercise your vote and support your fellow TSA members
for the Board of Directors positions that will open September who have volunteered to contribute their skills and expertise to
2018. Board members work diligently and care deeply about these important roles!
decisions that are made to fulfill the mission of our organization
and shape its future. Full details of candidates are available in Go to https://textilesocietyofamerica.org/board-elections-2018/
this Newsletter and on the TSA web page. to vote. Voting is open to current TSA members only. If you need
help logging in to access the ballot and candidate bios, please
Please use the web-based ballot to vote to: contact caroline@textilesociety.org.
• approve nominees for Vice President and Director of
Communications Polls close June 10, 2018!
• elect 4 of the 5 nominees for Director at Large
Slate of Candidates
Melinda Watt
Vice President/President Elect
Personal Statement: I am pleased and honored to run for Vice seventeenth-century embroidery at the Bard Graduate Center.
President of the Textile Society of America. As a board member The catalogue, English Embroidery from The Metropolitan
of CIETA (Centre International d’Etude des Museum of Art 1580-1700: ‘Twixt Art and
Textile Anciens), and as a curator at The Nature, was awarded the Textile Society
Met, I have been most closely involved of America’s annual book award for 2008.
with Western European textile history. My Melinda has taught a number of courses on
interest in running for a leadership role is textile history subjects at New York Univer-
due in large part to the enthusiasm and sity, Bard Graduate Center and City Univer-
energy exhibited by participants at the sity of New York, often collaborating with
biannual conferences I’ve attended, as well full time professors at these institutions.
as the diversity of subjects which have been She has organized a series of small, focused
presented. I have been at the Met for over textile installations at the Metropolitan
20 years, and I am about to embark on the Museum. Her most recent exhibition is The
transition to the role of Chair and Christa Secret Life of Textiles: The Milton Sonday
C. Mayer Thurman Curator of the Textile Archive (through January 2019), which
Department at the Art Institute of Chicago. celebrates the gift of Sonday’s research
In this role, my responsibilities will expand archive to The Met, and showcases some of
and my hope is that TSA will provide me his extraordinary loom models and textile
Melinda Watt
with access to more diverse scholarly points structure diagrams.
of view, and that I can utilize my experience in the field to help Watt joined the Met in 1994, after earning a Master’s Degree
lead TSA. Issues that are of particular interest to me are arts from NYU. Prior to that, she worked as a theatrical costumer for
education, and the challenge of scholarly publication in the six years, an experience which continues to inform her interest
digital age. in textiles and dress.
Bio: Melinda Watt is currently a Curator in the department of This summer, Watt will take up the position of Chair and Christa
European Sculpture and Decorative Arts at The Metropolitan C. Mayer Thurman Curator of the Textile Department at the Art
Museum of Art as well as Supervising Curator of the Antonio Institute of Chicago. In this role she will oversee the encyclope-
Ratti Textile Center. She was a co-curator of Interwoven Globe: dic textile collection formed by a series of visionary department
the Worldwide Textile Trade, 1550-1800 (2013). Previously, heads, leading textile installation program both within the
she organized an exhibition of the Museum’s collection of department and throughout the museum.
Spring 2018 Newsletter of the Textile Society of America Page 6
TSA News Slate of Candidates
Wendy Roberts
Director of Communications
Personal Statement: With a lifelong passion to increase awareness of the TSA nationally
for textiles, as history and an art practice, I and internationally, including reaching out
attended my first TSA Symposium in Savan- to interested individuals who have not yet
nah, 2016. The programing at the 2016 attended a symposium.
Symposium impacted my life creatively,
Bio: My professional background includes
academically, and provided an awareness
managing national and international
of what the TSA has to offer. I was energized
programs, coordinating development, oper-
by the knowledge and dedication of the ations, marketing, communications, training
participants, program, and presentations, as and customer service. I have led multiple
well as the supportive atmosphere of the TSA teams and projects concurrently. I have
community. I knew this was an association I experience with facilitating marketing for
connected with and wanted to support non-profit annual campaigns and member-
In the role of the TSA Communications Direc- Wendy Roberts ship initiatives with associations, community
tor, I will maintain the existing mission and services, health care and higher education.
core values while working to develop and facilitate an ongoing I hold a BFA with honors from The Maryland Institute, College of
cross-media communications plan including social media, web, Art in Graphic Design. My textile art practice includes weaving,
and print to broaden the TSA as an organization. I will work tapestry and natural dyeing.
Maggie D’Aversa
Director At Large
Personal Statement: I think about textiles as a means of access. of textiles. For now, I must be content with the access textiles
They represent the ticket to entry, the path to cultural knowl- has afforded me; a career, a passion, and a lens. I find this in TSA
edge, the invitation to express feelings mere words could not as well.
through ceremonial dress. This is why I think
Bio: Ph.D. Rutgers University, Bloustein School
about textiles as a fascinating, complicated,
of Planning and Policy, New Brunswick, NJ,
layered but intersecting means of access. The
2017. Dissertation: “Institutions, Race, And
Textile Society of America also represents
New Jersey Cities: The Tragedy Of Black Youth.”
access but more than that, they open doors to
M.A. Rutgers University Newark. 2007. English
those who desire access.
Literature/Writing. M.B.A. University of Rhode
For me, textiles was my access to employment Island. 1991. International Finance. M.S. Drexel
and I learned quickly that the engineering University, 1985. Materials Science. B.S.T.E.
principles behind textiles were similar to Philadelphia University. 1982. Textile Engineer-
principles behind other materials. I was fasci- ing – Structural Properties of Yarn and Fabric.
nated by the structural properties of yarns and
Independent Researcher: April 2017 to current
fabrics and I examined segments of the stress/
date. Examine weaving techniques over-
strain curves of natural fibers to determine the
looked by commercial producers of textiles.
characteristics of the fabric as it moved with
Research and study the conditions behind
use. Deep examination of the textile structure
cultural attachment to traditional textiles.
led me down the path of alternative means
Current work examines the Asian attachment
of designing textiles – another example of Maggie D’Aversa
to silk fiber.
access.
Conditions of Violence in Marginalized Communities: I study an
My training in textiles is based on technology but my passion
urban area where homicides are persistently high and an indig-
for them is based on the myriad of connections that textiles has enous community where violence against women is prevalent. I
exposed me to whether I am in China developing products for use both skills, specifically, the lens of violence and segregation
surgery or in Cuzco, Peru studying the different patterns of the in my fiber work.
Mayan weavers. I traverse two worlds; one of technology and
the other of culture and embrace the practical and beautiful Textile Studio Artist July 1981 to September 1988. At the Phila-
nature of textiles as a result of this traversing. I do not think I will delphia College of Textiles I worked with weaving and engineer-
ever experience all the possibilities that are present in the use ing students to design and develop woven designs for specific
Spring 2018 Newsletter of the Textile Society of America Page 7
TSA News Slate of Candidates
end uses. Taught basic and double weave structures to students serve existing customers. Worked with five companies in the
at Wilde Yarns of Philadelphia, PA. Maintained studio for hand Rhode Island/Massachusetts area.
weaving production of double weave large-scale projects.
Quality Assurance Manager(QAM), Technical Product Devel-
Johnson & Johnson, Inc. December 1991 to April 2017. Collab- opment(TPD) 1986-1991. Concordia Manufacturing Company,
orated with scientists and surgeons globally for solutions for
Coventry, RI. Developed design and process parameters for
surgical wound closure with special focus in Asia and Brazil.
specialized textile applications.
Skill set includes strategy development, ideation, goal execu-
tion and problem solving for product development, technology Development Engineer 1982-1986. Philadelphia College of
recruitment and the development of technical professionals. Textiles & Science, Philadelphia, PA. Assisted in design of various
Engineering Consultant (self-employed) 1990 to 1991. Search composite structures. Analyzed fabric and yarn geometry of
market needs and implemented new product technology to advanced composites, biomedical materials, and geotextiles.
Katherine Diuguid
Director at Large
Personal Statement: While at North She has taught embroidery and textile
Carolina State University as a tenure-track workshops both nationally and interna-
Assistant Professor, I took the initiative to tionally. She is currently working on her City
expand and promote textiles both within and Guilds Level 3 Certificate in Creative
our university and the community. As Textiles.
Faculty Director for Art2Wear (the annual
fashion show), I launched the Visiting Katherine previously served as Assistant
Artist Lecture and Workshop Series which Professor of Art+Design at North Carolina
developed into a 2-day Symposium on State University for six years. During her
contemporary textile art, The Common time at NC State, Katherine developed 7
Thread Symposium. The symposium was new courses for the Fibers and Fashion
a great success and saw students, faculty concentration for the Art + Design depart-
and artists from across the southeast come ment. As Faculty Director for Art2Wear,
together to celebrate textiles.
Katherine established the Art2Wear Visiting
Over the last 10 years I have traveled to Artist and Lecture Series which hosted 25
Katherine Diuguid
the UK to refine my embroidery skills and textile artists and industry professionals for
research the history and development lectures and workshops. As an extension of
of the techniques studied through museum and collections her research, she developed a study abroad program in collabo-
appointments. Inspired by my experiences, I developed a ration with the Royal School of Needlework, which successfully
5-week study abroad to the UK in collaboration with the Royal saw a group of university students studying embroidery over
School of Needlework (RSN) and NC State Study Abroad. The the summer of 2016.
students learned technical embroidery from a RSN tutor and
visited 26 museum, studio and collection appointments I had Katherine graduated with her Master of Art+Design from North
arranged to provide an overview of the development of needle- Carolina State University concentrating in Fibers and Surface
work from Opus Anglicanum to the present. Design. Prior to her graduate studies, Katherine earned degrees
In my own work, I am influenced by the history and traditions of in Industrial Design from North Carolina State University and
textiles as I seek to master traditional technique to understand Fashion Design from Parsons the New School of Design. She
how to manipulate them into contemporary artistic pieces. It is has worked in the fashion industry in footwear design and
this interest in history, artistic craft and theory in my own work technical design. She has completed certificate programs from
that has drawn me to TSA as it is a unique organization that the Embroiderer’s Guild (UK) and the Royal School of Needle-
brings professionals from each specialty together and encour- work focusing on hand embroidery and at Central Saint Martins
ages the discussion of common themes using our shared focusing on couture tailoring. She complements her studio
passion for textiles. work in hand stitching with research trips to view numerous
Bio: Katherine Diuguid is a studio artist specializing in hand historic embroidery and fashion collections in the US and UK. In
embroidery, dressmaking, and textiles. Her current work inves- addition to her university teaching, Katherine has taught work-
tigates color theory and color interactions within stitching, shops for numerous craft schools, embroidery guilds, universi-
especially goldwork embroidery. She has held a tenure-track ties, and museums nationally and internationally. Her work has
position at North Carolina State University (2012-2017) and has been published in the Encyclopedia of Embroidery Techniques
been awarded artist residencies at the North Carolina Museum by Pauline Brown and has written for the Gregg Museum’s Show
of Art (Fall 2017) and Penland School of Crafts (Winter 2018). and Tell—Celebrating the Gregg Museum’s Collections catalog.
Spring 2018 Newsletter of the Textile Society of America Page 8
TSA News Slate of Candidates
Isaac Facio
Director At Large
Personal Statement: I am committed to He has brought his expertise on textiles
the fundamentally collaborative nature and textile structures to collections care,
of research and invention; and aspire to preventative conservation, and exhibi-
develop projects with a diverse group tions as a 15-year member of the Textile
of artists and scholars that explore how Conservation staff at the Art Institute
weaving and weaving technologies influ- of Chicago. As a weaver for over two
ence our futures. Specializing in innova- decades, his research and artistic focus
tive 3-Dimensional textile technology is on 3D woven structures, collaboration,
with an emphasis in weaving and mate- and engaging with artists and students
rial studies, I am interested creating the through material and technical studies
opportunities for collaboration between in textiles and fiber. As co-founder of the
science and art through programming, Textile Technology Research Group at the
outreach, and STEAM initiatives. School of the Art Institute of Chicago,
a collaborative program in emerging
Having worked over 15 years at a major art
technologies emerging from the artist’s
museum in an environment that unites
studio, he maintains a research-based
curatorial and conservation sciences, I Isaac Facio
practice in art and science collaboration.
have experience in project management,
He is project partner in the ongoing art
programing organization, and leadership of research initiatives
and science collaboration, Fabric of the Universe: Materializing
and student groups. Moreover, as conservation professional
Dark Matter with Three-Dimensional Woven Structures, with
and active textile artist exploring the uses of the latest textile
astrophysicist, Benedikt Diemer from the Institute for Theory
technology, I will bring a varied and unique perspective to the
and Computation at Harvard University. Isaac studied at the
group, and I am eager to develop further collaborations.
l’École Nationale Supérieure des Beaux-Arts in Paris, France,
Bio: Isaac Facio, a textile artist and museum conservation profes- and is a graduate of the School of the Art Institute of Chicago.
sional, specializes in textile technology with an emphasis on 3D He received a Master of Science in Textile Technology from the
woven structures and the development of new mechanisms School of Materials, Engineering and Physical Sciences at the
that challenge the boundaries of creating solid cloth forms. University of Manchester, UK.
Robin Muller
Director at Large
Personal Statement: I’ve been a member of exhibitions, education, and administration,
TSA since the 2000 symposium in Santa Fe. serving 9 years as Chair of the Craft Division
It was the most informative conference I’d (Ceramic, Jewelry and Textiles) at NSCAD. I
ever attended. The papers were insightful was involved in hiring, revising programs,
and thorough, the exhibitions and field including MFA programs, policy reviews
trips exceeded my expectations. I became and curriculum changes.
reacquainted with past colleagues and
met many new ones. TSA quickly became Two years ago, I retired from NSCAD Univer-
the only conference I made sure to attend. sity. I feel ready to become more involved
I presented a paper in Northampton on with TSA. I look forward to finding ways of
Silk and Velvet Bookbindings, a panel in involving younger participants. I also hope
Toronto on Book Arts as Textile Narrative, to find a way to provide guidelines for artist
and a poster in Savannah. and makers to submit conference proposals
that are as compelling as those submitted
My career began with setting up a textiles Robin Muller by scholars. I look forward participating
program at University of North Dakota in all aspects of TSA, especially planning
in Grand Forks and working as an NEA/Rockefeller Intern at conferences and outreach events around the US and Canada.
the deYoung Museum, curating several exhibitions under
Pat Hickman. I spent 38 years teaching at NSCAD University Bio: Robin Muller received her BFA from VCU in 1976 and her
in Halifax Nova Scotia. I gained a great deal of experience in MFA from University of Michigan in 1978. She worked at the
Spring 2018 Newsletter of the Textile Society of America Page 9
TSA News Slate of Candidates
deYoung Museum in San Francisco and the University of North textiles. A second grant provided fund to hold a 2-day confer-
Dakota before immigrating to Canada to join the faculty of ence on sustainable textiles and fashion, Sow to Sew, Sept 27-8,
NSCAD University, formerly the Nova Scotia College of Art and 2013.
Design. She retired in 2015.
During her time at NSCAD, she developed curriculum, served in She teaches weaving, specializing in complex structures and
many administrative posts. She introduced digital weaving and Jacquard weaving. She has completed residencies at the Banff
book arts to the curriculum and developed the fashion program. Centre for the Arts, the Montreal Centre for Contemporary
She served as Chair of the Craft Division for 9 years and orga- Textiles, the Jacquard Center in Hendersonville, North Carolina
nized many textiles exhibitions including two of ethnographic and the Lisio Foundation in Florence, Italy.
textiles from local private collections (with Frances Dorsey.) She
organized several study trips to New York and one to Japan and Muller’s artwork has been exhibited across the US and Canada
China. She received and managed several large grant projects, as well as Norway, Finland, France, Germany, Korea, China and
including a $1.4 million Atlantic Innovation Fund project. Muller
led a multidisciplinary research group, ArchiTextile Lab or @lab. 3 African countries. Her work is in private and public collections
(2007-2012 with Dr. Sarah Bonnemaison, Dalhousie University). including The Museum of Civilization in Ottawa and the Nova
The team explored architectural applications of electronic Scotia Art Bank.
Mary-Louise Totton
Director at Large
Personal statement: I cannot shop without and World Art). I have a BFA, a MA (Asian
touching—I learn visually and by touch. studies), and a Ph.D. in art history. I was
Cloth, clothing, adornments and textile awarded a Fulbright for study in Indonesia.
arts have been a passion of mine since I Outside of academia I have worked as an art
can remember. As a teen I learned to sew consultant—including the ability to closely
and made most of my own wardrobe, yet in research textile art collections—(Detroit
college I found that I am not patient enough Institute of Arts and Denver Museum of Art),
to be a weaver. Instead my BFA show (Wayne an art dealer of historical textile arts, and as a
State University), titled Weaving with Paint researcher of a large, private textile art collec-
and Sculpting with Cloth, alluded to my tion, which allowed me to study comparable
passion for textiles. Prior to my graduate pieces in important museum collections
studies I worked as a hotel executive (direc- around the world. I have curated multiple
tor of training) in Indonesia and became exhibitions of historical and contemporary
enamored with Indonesian textiles. I spent textile arts (including the Hood Museum of
many free hours reading Mattiebelle Gitting- Mary-Louise Totton Art, Dartmouth College and the Kerr Gallery
er’s work and dozens of other textile related of the Richmond Center for Visual Arts). My
books, which ultimately inspired my return to the US for gradu- next curatorial project will feature some Asian textiles from my
ate school. My MA thesis (University of Michigan), Stone Cloth, own collection at the Kalamazoo Institute of Arts in 2019.
was a study of the unusual ornamentation within the primary
temple of the ninth-century complex of Loro Jonggrang at I have a number of publications that feature textile arts including
Prambanan (Central Java, Indonesia)—depictions of large “A Red Ikat Tapis: The Lands Beyond,” (Detroit Institute of Arts),
patterned textiles. My Ph.D. dissertation (University of Michi- “Waxy Ornaments: Innovative Hybrids,” (Surface Design Journal),
gan) is titled Weaving Flesh and Blood into Sacred Architecture. “Cosmopolitan Tastes and Indigenous Designs,” (Ruth Barnes
Textile arts continue to drive my research, curatorial, and teach- ed. Textiles in Indian Ocean Societies), “Batik, Collaboration and
ing interests. Cultural Exchange: A Year of Artistic Exploration,” (Mary-Louise
Totton, ed. Fiber Face: Cross-Cultural Batik Collaborations, Indo-
Although multiple commitments of a personal and professional nesia, 2008), and Wearing Wealth and Styling Identity: Tapis from
nature have not always allowed me to be a member of TSA, I Sumatra, Indonesia (Hood Museum of Art, Dartmouth College).
remember with particular fondness the conference in Chicago. I Forthcoming: “Textiles Signifying Olfaction” (working title) and
also have kept up with other scholars of textiles in various parts Asia Adorned (working title). I have also presented at numer-
of the world and am happy to be able to recommit myself to the ous conferences around the world on the topic of Indonesian
TSA at this time. textiles (Canberra, Oxford, Montreal, Bali, Sydney, Lisbon).
Bio: Currently an Associate Professor at Western Michigan In addition to my textile arts work, I have much experience and
University, I teach art history surveys of non-Western arts (Asia enjoy organizing events (conferences, festivals, speaker series
and Africa/Oceania) as well as topic classes that I have created etc.). Given the responsibilities of a Director at Large for the
that include several that focus on historical and contemporary TSA, I hope that I could be of value in this regard to aid in the
textile arts (Asia Adorned, World Textile Arts, Color History planning and organization of symposia.
Spring 2018 Newsletter of the Textile Society of America Page 10TSA News TSA “Meet Up” at the Textile Museum, Washington DC
TSA “Meet Up” at the Textile Museum, Washington DC
By Lauren Whitley
On April 5, 2018, TSA Board member Lee Talbot and his
colleagues at the Textile Museum in Washington, DC hosted
an afternoon “meet up” for TSA members. This special program
began with a guided tour of the exhibition Vanishing Traditions:
Textiles and Treasures from Southwest China led by its curator, Lee
Talbot. TSA members were treated to the extraordinary visual
delights of textiles, clothing, and accessories made by minority
cultures in southwest China, but also enjoyed the many personal
stories of makers as well as Lee’s own accounts of adventures in
China while conducting research for the exhibition.
Following the tour of Vanishing Traditions was a close look at
Binding the Clouds: The Art of Central Asian Ikat led by senior
curator, Sumru Belger Krody. TSA attendees feasted on the
dazzling dyed silks, all formerly in the collection of Guido
Goldman. Afterward, TSA members experienced the TM’s newly
opened Textiles 101 space, boasting interactive displays on the
fundamentals of textile design, including fiber, structure, and Lori Kartchner giving an introduction to Textiles 101, an interactive exhibit.
Photo credit: Caroline Hayes Charuk
color. This was particularly satisfying for the TSA artists and
textile makers in attendance. The afternoon of rich activities
concluded with a wine-and-cheese reception that provided an
excellent opportunity for informal exchange with TSA Board
members and TM curators.
The success of this “meet up” encourages us to offer similar
events in the future, so keep your eyes open for “meet ups”
coming your way!
Lauren Whitley is senior curator in the Department of Textile
and Fashion Arts at the Museum of Fine Arts, Boston, where
she helps oversee a global collection of 55,000 textiles,
costumes, and fashion accessories. She has curated more
than fourteen exhibitions including #techstyle, Hippie
Chic, Icons of Style: Makers Models, and Image, and High
Style and Hoop Skirts: 1850s Fashion. Ms. Whitley holds a
M.A. degree from the Fashion Institute of Technology, NY,
and received her B.A. in Art History from Trinity College in
Hartford, Connecticut. She is currently a Ph.D. candidate in
Curator Sumru Belger Krody speaking about Binding the Clouds: The Art of
Humanities at Salve Regina University in Rhode Island where Central Asian Ikat Photo Credit: Caroline Hayes Charuk
she is focusing her research on the intersection of American
fashion and technology in the 1930s.
Spring 2018 Newsletter of the Textile Society of America Page 11TSA News R. L. Shep Ethnic Textile Book Award 2017 Nominees
R. L. Shep Ethnic Textile Book Award 2017 Nominees
By Sarah Fee, Committee Chair
This year has brought an impressive number of nominations Hamidi, Rangina and Mary Littrell. Embroidering within Boundar-
for the R. L. Shep Ethnic Textile Book Award, attesting to the ies: Afghan Women Creating a Future. Thrums Books, 2017.
strong state of the field, both in terms of scholarship and
the publication houses devoting multiple titles to textile Hirschstein, Joshua and Maren Beck. Silk Weavers of Hill Tribe
subjects. The twenty-three works bring new perspectives Laos: Textiles, Tradition, and Well-Being. Thrums Books, 2017.
to both well-known and more obscure textile traditions in
Africa, Oceania, the Americas, the Mediterranean, and Asia. Leeb-du Toit, Juliette. isiShweshwe: A History of the Indigeni-
They include exhibition catalogs, monographs, and edited sation of Blueprint in South Africa. University of KwaZulu-Natal
volumes. The committee is looking forward to examining Press, 2017.
each and every one over the coming months.
Martens, Christine. Sacred Scraps: Quilt and Patchwork Traditions
The R. L. Shep Ethnic Textile Book Award recognizes
of Central Asia. The Quilt House, 2017.
outstanding scholarship and accessibility in the field of
ethnic textiles. Established by R. L. Shep in 2000 to promote Mason, Darielle, ed. Phulkari: The Embroidered Textiles of Punjab
the field of ethnic textile studies and the work of TSA, the from the Jill and Sheldon Bonovitz Collection. Yale University
award consists of a cash prize. The 2017 award winner will
Press, 2017.
be announced in the fall of 2018 and the award presented
at the TSA Symposium in Vancouver. Moitra, Bishwadeep, ed. Brigitte Singh: Printress of Mughal
The twenty-three titles being considered are: Garden. Mapin Publishing, 2018.
Alvarez, Nilda Callañaupa. Secrets of Spinning, Weaving, Nekrassova, Natalia and Susan Warner Keene. Diligence and
and Knitting in the Peruvian Highlands. Thrums Books, Elegance: The Nature of Japanese Textiles. Textile Museum of
2017. Canada, 2017.
Bjerregaard, Lena. PreColumbian Textiles in the Ethno- Nitanai, Keiko. Kimono Design: An Introduction to Textiles and
logical Museum in Berlin. Zea Books, 2017.
Patterns. Tuttle Publishing, 2017.
Bryan-Wilson, Julia. Fray: Art and Textile Politics. Univer-
sity of Chicago Press, 2017. Suleman, Fahmida. Textiles of the Middle East and Central Asia:
The Fabric of Life. Thames & Hudson, 2017.
Corrigan, Gina. Tibetan Dress: In Amdo & Kham. Hali
Publications, 2018. Tepper, Leslie H., Janice George, and Willard Joseph. Salish Blan-
kets: Robes of Protection and Transformation, Symbols of Wealth.
Enegren, Hedvig Landenius and Francesco Meo. Trea-
sures from the Sea: Sea Silk and Shellfish Purple Dye in University of Nebraska Press, 2017.
Antiquity. Oxbow Books, 2017.
van Hout, I.C. Indonesian Textiles at the Tropenmuseum. LM
Forni, Silvia and Doran H. Ross. Art, Honor, and Ridicule: Publishers, 2017.
Asafo Flags from Southern Ghana. ROM, 2016.
Veys, Fanny Wonu. Unwrapping Tongan Barkcloth: Encounters,
Franses, Michael, Penny Oakley, Moya Carey, Murray L. Creativity and Female Agency. Bloomsbury, 2017.
Eiland, and Sumru Belger Krody. Stars of the Caucasus:
Silk Embroideries from Azerbaijan. Hali Publications, Webster, Laurie D., Louise Stiver, D. Y. Begay, and Lynda Teller
2018. Pete. Navajo Textiles: The Crane Collection at the Denver Museum
Gillow, John. Kantha. Radius Books and Mingei Interna- of Nature and Science. University Press of Colorado, 2017.
tional Museum, 2017.
Wong, Teresa Duryea. Cotton & Indigo from Japan. Schiffer
Gott, Suzanne, Kristyne S. Loughran, Betsy D. Quick, Publishing, 2017.
and Leslie W. Rabine. African Print Fashion Now! A Story
of Taste, Globalization, and Style. Fowler Museum at To learn more about the Shep Award and its past recipients, visit
UCLA, 2017. http://textilesocietyofamerica.org/shep/
Spring 2018 Newsletter of the Textile Society of America Page 12Textile Society of America 30th Anniversary
A Personal Connection to TSA
By Cathy Stevulak
TSA and its members have touched me pointed me in the right direction and also said that I should meet a textile conservator
in so many positive ways on my journey who had spent part of her youth in Bangladesh. When I found Julia Brennan, and told
to make the documentary film THREADS, her about the THREADS film project, Julia’s eyes welled up with tears. “My late mother
a story about the vision and determina- and Surayia, the artist in your film, were close friends.” Later, I met Mary Lance, a film-
tion of Bangladeshi textile artist Surayia maker whose work I admired, who sat with me for a long time to talk me through her
Rahman. I am grateful to so many TSA experience with film production.
members who worked over the years
I was enthralled by every session I attended at my first Symposium, and was inspired
behind-the-scenes with THREADS,
to present at a future Symposium. For TSA in Los Angeles, I joined with Dr. Niaz Zaman
helping with research and ideas, spread-
of Bangladesh to present a paper. But my most vivid memory of the LA Symposium
ing the word on social media, and orga-
was working on the final cut of THREADS, running back and forth to the computer lab
nizing screenings and discussions.
between sessions. Mary came to help me with one final review; it was such a privilege
I was slightly intimidated before I to have her by my side at that critical time. THREADS later screened at TSA in Savannah,
attended my first TSA Symposium in and I had a chance for a reunion with the textile professors who had first encouraged
Washington, DC in 2012. There was such me to make the film and to get involved with TSA. The project came full circle with
a depth of knowledge and I was a rela- many threads of TSA woven into it.
tive novice in the field.
Most recently, I keep connected on Skype with a TSA Student Award winner. We are
As I looked for like-minded people sharing thoughts on her career as well as discussing a film story about sustainable
working to bring the value of textiles fashion and artisanship. I have learned so much from TSA members that I want to share
and artisanship to a broad audience, I the experience I have gained. And the circle continues…
met Jannes Gibson. She had coinciden-
tally also lived in Bangladesh. Jannes THREADS film website is www.kanthathreads.com
Call for Submissions
Textile Month
By Susan Brown
The third annual New York Textile Month is coming up in September. This grassroots initiative,
spearheaded by trend forecaster, Li Edlekoort, draws attention to textiles through museum and
gallery exhibitions, open studios and showrooms, public lectures and panels, awards for student
textile designers, and more.
Last September, we showcased the breadth and depth of TSA members’ knowledge during
Textile Month through a collaboration with Cooper Hewitt, Smithsonian Design Museum. Thirty
TSA members wrote enlightening and informative short essays about objects in the museum’s
collection, which were hosted on its Object of the Day blog (https://www.cooperhewitt.org/
object-of-the-day). The blog is published on the museum’s website and distributed to thousands
of subscribers in their email each morning.
If you’d like to participate this year, please contact Susan Brown, Associate Curator, Cooper Hewitt,
at brownsu@si.edu
Spring 2018 Newsletter of the Textile Society of America Page 13Re: Gender Bend: Women in Wood, Men at the Loom
By Stanley Bulbach, Ph.D.
The Fuller Craft Museum in Brockton, Massachu- New York’s Folk Art Museum lost its new building. American Craft Magazine
setts is one of the few surviving craft media art explained that it could not afford to review Gender Bend. Oregon’s Museum
museums in the United States. It is dedicated of Contemporary Craft and Washington DC’s Textile Museum both had to
to the objects, ideas, and insights reorganize themselves radically.
that inspire patrons and artists Over recent decades, the Handweavers Guild of
to explore life through the art of America has lost more than half of its membership.
contemporary craft. The Fuller An American Tapestry Alliance survey recently
recently produced a gem of an reported the average member age approaches
exhibition, Gender Bend: Women in 70. Our fiber groups and institutions now run
Wood, Men at the Loom, which ran continuous fundraisers competing against each
from October 21, 2017 through other for the same limited pool of dollars available
March 11, 2018. The exhibition from fiberists.
featured the art of female wood
If our field is sincerely dedicated to education
turners alongside that of male
weavers. and nurturing incoming generations, then that
requires a constructive conversation about
There are many, many wonderful improving the accuracy of research practice of our
things to say about this exhibition. field’s accomplishments, to enable fiberists’ ability
Unfortunately, while this import- to support our organizations and institutions.
ant project was widely promoted,
almost no reviews were published, Regarding Gender Bend, how can we discuss the
not even by the fiberists’ primary traditional under-representation of fiber regarding
organizations. The sole publicly male weavers without confusion when the entire
accessible review I found thus far field of fiber regardless of participants’ gender is
was in Providence Journal (Decem- traditionally under-represented in the published
ber 20, 2017), referring to a partic- research record of the craft media arts?
ipating weaver as “she,” illustrating
The Hudson, a prayer carpet, handwoven from hand spun In 1986 the American Craft Museum produced
ongoing problems our field’s
Lincoln with vegetable dyes. Photo credit: Stanley Bulbach
artists confront when depending its classic exhibition and catalogue, Craft Today:
upon reviews for visibility of their Poetry of the Physical, curated and edited by Paul
work. Few curators and gallery directors accept Smith. On page 16 in “Historical Roots and Contemporary Perspectives,”
unsolicited materials from us when performing Edward Lucie-Smith contributed:
their research. Too often exposure must be via
fee-based juried exhibitions with controversial the recent history of craft as it is reflected in print is subject to some
pre-screening admission fees. unexpected distortions. For example, although ceramics is not the
largest field of activity — that honor almost certainly belongs to fiber
Gender Bend included the impressive fiber art — the recent history of American craft ceramics is more fully recorded
of Klaus Anselm, James Bassler, Archie Brennan, than work in any other medium.
Murray Gibson, Jean Pierre Larochette, David
Johnson, Urban Jupena, Marcel Marois, Wence But how can we discuss distorted research when we are rarely helped to chal-
Martinez, David Mooney, Michael Rohde, Jon Eric lenge why our field continues for decades to be under-documented in this
Riis, and Irvin Trujillo. I participated too. inaccurate way? In all other fields, graduate students are required to chal-
lenge research conclusions to test accuracy and reliability as an overarching
The exhibition’s co-curators were Tib Shaw, priority of professional ethics. If contemporary fiber is ever going to ascend
Curator at the American Association of Wood- from the lower visibility and status imposed upon it in the art world, fiber
turners and Writer at American Craft Magazine, organizations need to support advocacy and education particularly regard-
and our field’s illustrious Jon Eric Riis. The Fuller ing what accurate, reliable research practice requires.
announced the exhibition as “two populations
that have been traditionally under-represented Other fields of research practice correct traditional distortions. A third of a
in their fields.” In the beautiful catalogue, Fuller’s century since Lucie-Smith illuminated the inaccurate, unreliable research
Associate Curator Michael McMillan stated the practice about fiber, it’s now time for change. We all need strongly to support
museum’s goal “to be a platform for the spectrum the conversation that Gender Bend and Fuller Craft Museum advocate.
of conversations in craft.”
Institutions and organizations for fiber art are Stanley Bulbach, Ph.D., (Ancient Near Eastern Studies, N.Y.U., 1981) has been
being severely buffeted. Massachusetts’ Amer- a fiber artist and independent writer on the fiber field since 1978. www.
ican Textile History Museum closed its doors. bulbach.com.
Spring 2018 Newsletter of the Textile Society of America Page 14Coping with the Perils from Apparel
By Nick Butler, Editor of Technical Textiles International
Editor’s note: This article was originally published in Technical
Textiles International. For more on this topic, please also
see the 2012 TSA Proceedings essay “Felt Space: Responsive
Textiles, Fabric Dwellings and Precarious Housing” by Kirsty
Robertson (https://digitalcommons.unl.edu/cgi/viewcontent.
cgi?article=1737&context=tsaconf).
Microplastics, small pieces typically less than a few millime- have hinted at detrimental effects, such as stunted growth and
tres in size, are a big part of the problem of plastic waste in diminished reproduction, in fish that ingest microplastics and
the environment and microfibres from clothing are a major shown that ingestion is common, but much more research
source of them. Whether shed from general abrasion, from remains to be done.
laundering or from the breakdown of irresponsibly discarded
garments, microfibres are polluting our oceans, our land and One solution would be to replace plastic fibres with natural ones.
our freshwater. However, natural fibres also pose problems for the environ-
ment. Vegans and animal rights activists have long argued that
Already significant, we also know this form of pollution is a the rearing of livestock makes a big contribution to the damage
growing problem. Plastic fibres account for about two-thirds of we do to the environment, whether its for meat or fibres and
the more than 100 Mt a year of fibres we currently produce and furs, and they campaign for the use of plastic fibres. Crops for
we continue to increase their production year-on-year. Import- plant-based fibres need agricultural land and irrigation, often
ant problems demand our proper attention and a measured in places already desperately short of food and drinking water,
response, not just the knee-jerk reactions of those anxious to be and frequently require the application of pesticides that them-
seen to be doing something or to promote their own agenda. selves escape to cause damage to the surrounding land, rivers
There are already signs that inappropriate “solutions” are being and oceans.
implemented that will create different kinds of pollution.
My plea for an intelligent response is not prevarication, this
There is a lot to do. We must begin by understanding the mech- problem is urgent and we need to do more to understand all
anisms by which the plastic microfibres escape to unwanted of these issues quickly, instead it is an appeal for us to form
places, the nature of their impact when they arrive and the balanced views of all the pros and cons of each approach, and
consequences, good and bad, of any proposed alternatives to to do what we can to limit the existing problem while we do.
their use. Early research has indicated that the type of plastic We need to re-engineer yarns and fabrics to limit the shedding
has an impact on the shedding of microfibres; acrylic fibres of fibres. We need to design products from the outset for re-use
appear to shed more readily than polyester, for instance. Fabric and recycling, and create an infrastructure that makes sure
construction is another factor; fleeces shed large fibres more textiles are recycled. We need to reduce the impact of laun-
readily than tight weaves, but the high degree of rubbing in the dering, by adding filters to washing machines and designing
latter causes small pieces of fibre to break away. Exposure to
products that need less frequent washing. We need to learn
ultraviolet (UV) radiation breaks down polymer chains, weakens
to use (and use again) all materials responsibly, and we need
the fibres and increases the likelihood of shedding over time.
to apply the innovation, flexibility and creativity that are the
Laundering is a big factor; a high degree of agitation and the
foundations of the technical textiles sector to the manufacture
use of harsh detergents can boost the release of microfibres.
of all apparel, adding value not only to the product, but also to
The effects of plastic microfibres on the environment, on the the whole planet.
food chain and on water are not yet well understood. How do
these waste materials break down and if so do they release © International Newsletters Ltd 2018. Published on www.
toxins? Are pathogenic microorganisms encouraged to prolif- technical-textiles.net, all rights reserved, author Dr. Nick Butler,
erate on the surface of these waste particles? How commonly Editor-in-Chief, Technical Textiles International magazine and
are the materials ingested by animals? Basic investigations www.technical-textiles.net.
Spring 2018 Newsletter of the Textile Society of America Page 15You can also read
