Behind the scenes at the V&A

For the past two years the Victoria and Albert Museum has been packing up its European and Asian study collections and moving them to the new Clothworkers’ Centre for Textiles and Fashion Study and Conservation at Blythe House in Kensington Olympia. This will bring together in one place collections currently stored in 10 different areas. Today I went on a behind-the-scenes tour to see what exactly this entails.

Renderings for The Clothworkers’ Centrefor Textile and Fashion Study and Conservation © Hayworth Tompkins 2011
Renderings for The Clothworkers’ Centre
for Textile and Fashion Study and Conservation © Hayworth Tompkins 2011

The scale of the operation immediately becomes apparent, as Sue Prichard of the V&A explains that the textiles and fashion collections contain around 85,000 objects, while the Asian collection has around 40,000 items. Around half of the collections have already been moved, with half still to go.

As the items vary, from pins to carpets, the removals team have had to carry out pilot studies to determine the best way to move delicate pieces to prevent them from being crushed and creased during the process. This may involve padding conservation-grade boxes with “sausages” or “doughnuts” of acid-free tissue paper (apparently there is quite an art to constructing these properly!) or constructing Tyvek bags to protect hanging items.

Carpets, more than 200 of which are currently stored on huge metal arms, are carefully vacuumed, rolled onto acid-free rollers and then treated to ensure they are pest-free before being moved.

Renderings for The Clothworkers’ Centrefor Textile and Fashion Study and Conservation © Hayworth Tompkins 2011
Renderings for The Clothworkers’ Centre
for Textile and Fashion Study and Conservation © Hayworth Tompkins 2011

Ah yes – pests. Anyone who has discovered moth holes in their prized cashmere sweater will know the anguish they felt – and the V&A is not immune. Suzanne Smith, who works on preventive conservation, says that the wooden lockers used to store the 20th-century menswear collection has been infested by woolly bear larvae of the carpet beetle twice in the past 10 years. Hence the large chest freezers in the department, where they leave items for 72 hours at -30ºC to kill the larvae.

The museum also uses moth lures impregnated with pheromones from female clothes moths to attract male moths (apparently if you see moths flying around they are usually male; female moths tend to “hop” along the ground).

Suzanne’s top tips for avoiding/spotting pests:

  • Place sheets of white tissue paper on the floor of your wardrobe. If you have a moth attack, you’ll see a line of moth droppings on the tissue paper, the same colour as the item they have been eating – so you know which clothes to remove and treat.
  • Domestic freezers operate at higher temperatures, so you’ll need to leave items in the freezer for longer than 72 hours. Put them inside a bag, suck the air out and stick it in the freezer for two weeks. Most sweaters are fine to be treated this way, but be cautious with anything that has metal thread, gelatin sequins or heavy embroidery.
  • Moths and larvae can also live under the floorboards – Suzanne described how they had to take up the floorboards of two rooms to get rid of moths after discovering damage to hangings on the Great Bed of Ware. You can get narrow strips of plastic that you can insert between floorboards by pushing them into place with a credit card, to prevent debris falling through the cracks.

At Blythe House the collections will have custom-made storage, with special rooms for shoes, hats and fur and feather – all items will  have been specially treated or quarantined to ensure they are not infested. Improved accessibility, both physically and in terms of documentation (each item has been audited before packing to record its type, date and technique), should make it easier to retrieve items for viewing, and more items have been photographed for the records.

The V&A Clothworkers’ Centre opens in October 2013 for researchers.

Crab art

After all these earnest posts about textiles, time for a bit of fun!

While in India we stayed for three nights at the Beach at Mandvi Palace, a luxury camp with a private beach. The beach was fascinating for the different textures left on the sand by the waves and tides.

But even more fascinating were the patterns made by tiny spheres of sand which are left behind by crabs after they have extracted any useful organic material. I’ve seen small piles of sand balls from crabs on other beaches, but never in patterns like this. I know – what a sheltered life I’ve led – but remember I am a city gal. 😉

crab art 3 crab art1 crab art 2crab art 4

And here’s a pic of some of the possible creators – or maybe their larger cousins.

crabs

More on bandhani and dyeing

In response to Jennifer’s comment on my last post, I thought I’d post a bit more about bandhani and dyeing, as otherwise my reply would be rather long!

Sadly, for some reason, I didn’t get any photos of the wedding saris at Kachchhi Print, in Dhamadka – and they don’t have a website. However, it’s easy to find pictures of bandhani wedding saris online – I’ve posted a couple below, just to give you an idea. Many of them incorporate embroidery and brocade, as you can see.

wedding sari2 wedding sari1

As for the dyes used, I didn’t ask – but I suspect that most of them are chemical dyes. Certainly this article suggests that chemical dyes are in widespread use.

Indian artisans are known for their natural dyeing skills – the wonderful Calico Museum of Textiles in Ahmedebad publishes a book, Natural Dyeing Processes of India, that contains real samples of dyed cloth.

Travels in Textiles gives a wonderfully detailed account of the process of ajrakh block printing by Ismail Mohammed Khatri in Kutch, whom I didn’t manage to visit. The dyeing processes involve indigo, madder, rhubarb root, henna, pomegranate skins and turmeric, among other things! But I guess chemical dyes are so much quicker these days.

The only dyeing I witnessed when I was in Gujarat was in Bhujedi, where a man was dyeing skeins of wool in a large metal pot of chemical dye over a fire. He soaked three skeins of wool in water and then rested them on two metal poles balanced across the rim of the pot. He then dipped each skein in turn into the dye, running his hands along its length to ensure the dye was properly absorbed.

dyer

His hands must have been made of asbestos, as he didn’t wear gloves! He said that it took about 30 minutes to dye each skein in this way  – the surrounding courtyard was strung with washing lines of red, yellow and blue skeins hung up to dry.

The colour wasn’t entirely even, which led to a pleasing variation in colour of the final pieces that were woven from it next door. I did, however, spy two indigo vats sunk into a corner of the courtyard, which suggests they also used natural fermented indigo.

Woo hoo - an indigo vat!
Woo hoo – an indigo vat!

Also a postscript on bandhani: Having noted that I saw very little stitch resist, there was a wonderful shop, Kamala, run by the Crafts Council of India, in Delhi. This provided a showcase of innovation and fine workmanship, including some lovely woollen scarves and cotton stoles featuring stitch-resist bandhani. kamala bandhani

Finally, here’s a video on bandhani, made by House of MG, the hotel we stayed in in Ahmedebad. It’s great watching the artisan using his feet when capping the fabric with plastic to prevent the dye from reaching it, and also shows how they pull it to get all the bindings on the finished piece to pop off.

Bandhani in Gujarat

I was really looking forward to seeing a lot of Indian bandhani, or tie-dye, while I was in Gujarat. And I wasn’t disappointed!

bandhani samples4 bandhani samples1 bandhani samples2 bandhani samples3

Bandhani is so popular in this area that a lot of it is now printed rather than tied and dyed by hand. It’s usually quite easy to tell whether a fabric has been printed rather than tied, as the dots are too regular – they lack the organic irregularities of something produced by hand. Also, the printed fabrics are usually synthetics, whereas the hand-tied pieces are cotton or silk.

However, just to reassure customers that fabrics are tied by hand, many shops leave the binding on, and just untie one or two sections to show the pattern. I love this, because for me the most exciting part of shibori is undoing the resist to see the final result for the first time.

So by buying a piece of bandhani that is still bound, I get the vicarious thrill of seeing the result without having to do all the work! 😉

bandhani unbound

The shots of different bandhani saris below were all taken at a market in Chhota Udepur, eastern Gujarat. It’s a big tribal area, and it was fascinating to see bows and arrows for sale alongside more conventional fruit and veg!
bandhani sari2 bandhani sari1bandhani sari14 bandhani sari3 bandhani sari4 bandhani sari5 bandhani sari6 bandhani sari7 bandhani sari8 bandhani sari9 bandhani sari10 bandhani sari11 bandhani sari12 bandhani sari13

From the pictures you can see that most of the bandhani is of the tied variety, but I did spot one sari that used a stitch resist. Given the area’s reputation for stitching, I wonder why stitch isn’t used as a resist more often.

bandhani sari stitch
One of the very few bandhani saris I saw that used a stitch resist

The skill needed to bind the dot patterns ratchets up to a whole new level for silk wedding saris.

At Kachchhi Print, in Dhamadka, it was incredible to watch the wife of the proprietor demonstrate her tying skills on a silk jacket she was making. In the photo below, the marks on the fabric are where the dots are to be tied, and you can see the density of the knots that she has already tied.

bandhani tying2

Tying at this level is usually restricted to wedding saris, which take around a month to make and start from around £100. Even though this was a relative bargain I couldn’t really justify buying 6.5 metres of such fine work, but at Kala Raksha later in the trip I found some very fine bandhani scarves that were more manageable in terms of size and weight!

bandhani scarf 001

bandhani scarf 002

Namda felting in Mundra

It was quite a surprise when our driver Deep took us to visit a felter in Gujarat. I’d read a lot about embroidery, tie dye, weaving and block print in the state – but nothing about felting.

namda felt

Felt-making runs in Karim Umar Mansuri’s family – his father and grandfather before him also made felt. However, according to Mumbai newspaper DNA, he now has to do carpentry on the side to make ends meet, as he can’t sell enough felt.

Karim showed us photos of some of his rugs, all in natural-coloured wools, and in great organic designs. Unfortunately (or maybe fortunately for my baggage allowance!) he didn’t have any in stock, or I’d have snapped one up.

He was kind enough to show us how he made one of his smaller pieces, crouched on the vinyl floor!

First he wet the corner of a cotton sheet and started rolling out some coloured roving, wetting it thoroughly before forming a double outline of a circle.

namda2

Then he formed the outline of a butterfly and filled in the gaps with different colours of wool. I should say that apart from the roving, the wool didn’t appear to have been combed in any way. I don’t know what type of sheep it was from – Deep’s interpretation skills didn’t extend to discussing different sheep species! 😉

However, Craftmark suggests that it’s a type of wool known locally as CDX, or waali-yeer.

namda3

 

namda4

After filling in the outlines Karim filled in the rest of the circle in khaki and added a red border.

namda5

Then he put another layer of white on top. He did a little bit of dry rubbing and patting, but not very much. All the wool apart from the roving was dry – he didn’t wet between layers.

namda6

After completing the layout, he folded the rest of the sheet over the top and rolled it up – again, no wetting was involved.

namda7

I am convinced something got lost in translation here, because when I asked what happened next, I was told that he soaked the roll in hot soapy water and then left it out in the sun for seven hours to felt – and that was it!

I asked several times whether any rubbing or rolling was involved, miming the actions, but was told definitely not. Maybe there was some friction involved as part of the soaking process, but this didn’t come across in any way, and we didn’t have time to stay and watch.

But the pieces I saw were definitely very firmly felted.

There isn’t much about namda felting techniques on the internet, but I found a report of felting businesses in Tonk, Rajasthan, which describes the methodology as follows:

“The mass of fleece is sprinkled with soapy water and rolled and kneaded until the layers of wool are felted. The namda is then soaked in a large cauldron of water and finally laid flat to dry in the sun.”

Craftmark also suggests that the felt may be rolled by foot, or by treading on it.

If it’s possible to make felt just by soaking it and laying it out in the sun without the hard work of rubbing and rolling, I’m  moving to India! 😉

 

Back from India

What a culture shock, arriving back from a balmy India to a freezing cold, sleety London with not a single cow anywhere on the road! 😉

I had a fabulous time touring Gujarat for three weeks, saw some amazing sights, met some wonderful people – and bought some terrific textiles. Our driver, Deep Singh, booked through Northwest Safaries, was excellent – courteous, safe, and completely unfazed at negotiating junctions involving, cars, buses, autorickshaws, bullock carts, camels, motorbikes (not to mention cows, goats, and wild pigs). He’s been doing the job for nearly 30 years, so he took us to artisans and producers – including, to my surprise, a felter! – not mentioned in any of the guidebooks.

I’ll be writing about some of the textiles and techniques I saw over the next few weeks, once I’ve caught up with real life again! But here are a few photos just to whet your appetite from this wonderfully inspiring trip.

With our excellent driver, Mr Deep Singh
With our excellent driver, Mr Deep Singh
gujarat haul
Some of my textile haul!
gujarat tyres
Even tyres in Gujarat display wonderful textures!
gujarat bags
Patchwork bags at the market
gujarat chair embroidery
Faded embroidery on a chair in the street
gujarat children
Friendly children in the cotton fields
gujarat cow
Probably the best-dressed cow we saw in India
gujarat cushion
Gorgeous cushion in Ahmedabad hotel
gujarat fish market
The most intense fish market I’ve ever been to, in Diu
gujarat geometry
Wonderful Mughal carving
gujarat hodka ceiling
Colourful ceiling display
gujarat leaf plaster
Leaves were used to create patterns on the plastered walls of a hut we stayed in
gujarat market
One of the most artfully arranged markets I’ve seen
gujarat rope chair
Rope chair in hotel bathroom
gujarat stone peacock
Peacocks are a very popular motif