Handbook of Museum Textiles, Volume 1
Conservation and Cultural Research
1. Auflage Dezember 2022
416 Seiten, Hardcover
Monographie
ISBN:
978-1-119-79170-6
John Wiley & Sons
Weitere Versionen
Handbook of Museum Textiles
Textiles have been known to us throughout human history and played a vital role in the lives and traditions of people. Clothing was made by using different materials and methods from natural fibers. There are different varieties of textiles, out of which certain traditional textiles, archaeological findings, or fragments are of cultural, historical, and sentimental value such as tapestries, embroideries, flags, shawls, etc. These kinds of textiles, due to their historical use and environmental factors, require special attention to guarantee their long-term stability. Textile conservation is a complex, challenging, and multi-faceted discipline and it is one of the most versatile branches of conservation.
Volume 1 of the Handbook of Museum Textiles focuses on conservation and cultural research and addresses the proper display, storage, upkeep, handling, and conservation technology of textile artifacts to ensure their presence for coming generations. Spread over 19 chapters, the volume is a unique body of knowledge of theoretical and practical details of museum practices. Chapters on textile museums, the importance of cultural heritage, conservation, and documentation of textiles are covered in depth. Conservation case studies and examples are highlighted in many chapters. Management practices and guidelines to pursue a career in the museum textile field have been given due attention. The respective authors of the chapters are of international repute and are researchers, academicians, conservators, and curators in this field.
Audience
The book is a unique asset for textile researchers, fine art scholars, archaeologists, museum curators, designers, and those who are interested in the field of traditional or historic textile collections.
Preface xix
1 Textile Museums: Its Importance, Objectives and Functions 1
Vandana Gupta and Mangesh S. Manekar
1.1 Introduction 1
1.2 Museum Definition and Its Existence 2
1.3 Textile Museums and Their History 4
1.4 Importance of Textile Museums 6
1.4.1 Connective Value 6
1.4.2 Collective Value 7
1.4.3 Educative Value 10
1.4.4 Economic Value 11
1.5 Objectives of Textile Museum 14
1.6 Function of Textile Museum 14
1.7 Textile Museum and Their Future Prospects 16
1.8 Conclusion 16
References 16
2 Textile Intangible Cultural Heritage of the World 19
Ritu Pandey, Vandana Gupta, Pintu Pandit, Kumar Rohit and Suruchi Pandey
2.1 Introduction 19
2.1.1 Ancient Textiles of the World 20
2.2 Ancient Textiles of the World: Techniques and Historical Perspective 24
2.2.1 Ancient Heritage Textiles--Asia and Australia 24
2.2.1.1 Chinese Textiles 24
2.2.1.2 Japanese Textiles 24
2.2.1.3 Indian Textile 26
2.2.1.4 Turkish Textiles 27
2.2.1.5 Persian Rugs 27
2.2.2 African Textile 28
2.2.3 Scandinavian Textile Design 29
2.2.4 American Textiles 30
2.3 Role of Museum: Textile as a Part of Heritage and Culture 32
2.4 Marketing Strategies for Museums and Conservation 33
2.5 Conclusion 35
References 35
3 Important Woven Textile Specimens in World Museums 39
Karthika Audinet
3.1 Introduction 39
3.2 Methodology 40
3.3 Prehistoric Textiles 42
3.3.1 Textile Specimen 1.3.1 44
3.3.2 Textile Specimen 1.3.2 44
3.3.3 Textile Specimen 1.3.3 45
3.3.4 Textile Specimen 1.3.4 45
3.3.5 Textile Specimen 1.3.5 46
3.3.6 Textile Specimen 1.3.6 46
3.4 Textiles from Peru 46
3.4.1 Textile Specimen 1.4.1 48
3.4.2 Textile Specimen 1.4.2 48
3.4.3 Textile Specimen 1.4.3 49
3.4.4 Textile Specimen 1.4.4 49
3.4.5 Textile Specimen 1.4.5 49
3.4.6 Textile Specimen 1.4.6 50
3.4.7 Textile Specimen 1.4.7 50
3.5 Chinese Textiles 50
3.5.1 Textile Specimen 1.5.1 52
3.5.2 Textile Specimen 1.5.2 52
3.5.3 Textile Specimen 1.5.3 53
3.5.4 Textile Specimen 1.5.4 54
3.5.5 Textile Specimen 1.5.5 54
3.5.6 Textile Specimen 1.5.6 55
3.5.7 Textile Specimen 1.5.7 55
3.6 Textiles from the Indian Subcontinent 56
3.6.1 Textile Specimen 1.6.1 57
3.6.2 Textile Specimen 1.6.2 58
3.6.3 Textile Specimen 1.6.3 58
3.6.4 Textile Specimen 1.6.4 58
3.6.5 Textile Specimen 1.6.5 59
3.6.6 Textile Specimen 1.6.6 59
3.6.7 Textile Specimen 1.6.7 59
3.7 Textiles from Sudan, Egypt, Mali, and Ghana (North and West African Textiles) 60
3.7.1 Textile Specimen 1.7.1 61
3.7.2 Textile Specimen 1.7.2 62
3.7.3 Textile Specimen 1.7.3 63
3.7.4 Textile Specimen 1.7.4 63
3.8 Textiles from Japan 64
3.8.1 Textile Specimen 1.8.1 65
3.8.2 Textile Specimen 1.8.2 65
3.8.3 Textile Specimen 1.8.3 66
3.8.4 Textile Specimen 1.8.4 66
3.8.5 Textile Specimen 1.8.5 66
3.8.6 Textile Specimen 1.8.6 67
3.9 Textiles from Iran and Central Asia 67
3.9.1 Textile Specimen 1.9.1 69
3.9.2 Textile Specimen 1.9.2 69
3.9.3 Textile Specimen 1.9.3 69
3.9.4 Textile Specimen 1.9.4 70
3.9.5 Textile Specimen 1.9.5 70
3.10 Textiles from Italy and France 71
3.10.1 Textile Specimen 1.10.1 73
3.10.2 Textile Specimen 1.10.2 73
3.10.3 Textile Specimen 1.10.3 73
3.10.4 Textile Specimen 1.10.4 73
3.11 Conclusion: Toward an Understanding of the Historic Foundations of Woven Structures 74
References 77
List of Museums 82
Glossary 83
4 Types of Conservation of Textiles in the Museum: Their Importance and Scope 87
K. B. Binita and B. Sunita
4.1 Introduction 87
4.2 Importance of Conservation 88
4.3 Principles of Conservation 89
4.3.1 Determining the Need and Laying the Foundation for Conservation 89
4.3.2 The Conservation Assessment and Process 89
4.3.3 Obtaining a Conservation Assessment 89
4.3.4 Selecting an Assessor or Conservator 89
4.3.5 The Assessment as a Planning Tool 90
4.3.6 Conservation Collection Condition Survey 90
4.3.7 Object Treatment 90
4.3.8 Risk Assessment and Management 90
4.4 Types of Textile Articles Conserved 90
4.5 Methods of Conservation 91
4.5.1 Preventive Conservation 91
4.5.1.1 Climate 92
4.5.1.2 Light 92
4.5.1.3 Insects 93
4.5.1.4 Microorganisms 93
4.5.1.5 Dust, Soil, and Other Contaminants 94
4.5.1.6 Disaster 94
4.5.2 Curative/Interventive Conservation 95
4.5.2.1 Surface Cleaning 95
4.5.2.2 Vacuuming 95
4.5.2.3 Wet Cleaning 95
4.5.2.4 Solvent or Dry Cleaning 96
4.5.2.5 Stabilization 96
4.6 Storage, Display, and Handling of Museum Textiles 96
4.7 Scope of Conservation 97
4.7.1 Education and Knowledge Dissemination 97
4.7.2 Lecture, Seminar, Workshops, and Research 98
4.7.3 Photography and Publication 98
4.8 New Approaches in Conservation 98
4.9 Conclusion 99
References 99
Webliography 100
5 Fashion and Textile Museums Across the Globe 101
Arpana Kamboj and Surabhi Mahajan
5.1 Introduction 101
5.2 Victoria and Albert Museum, London 103
5.2.1 History 103
5.2.2 Collection 104
5.3 Fashion Museum, Bath, UK 104
5.3.1 History 104
5.3.2 Collection 105
5.4 Metropolitan Museum of Art, New York City 106
5.4.1 History 106
5.4.2 Collection 107
5.5 Musée De La Mode Et Du Textile, France 108
5.5.1 History 108
5.5.2 Collection 109
5.6 Palais Galliera, France 109
5.6.1 History 110
5.6.2 Collection 110
5.6.2.1 Eighteenth Century Dress Office 110
5.6.2.2 Nineteenth Century Ensembles Division 111
5.6.2.3 Fashion of the Principal Half of 20th Century 111
5.6.2.4 Haute Couture 111
5.6.2.5 Contemporary Office 111
5.6.2.6 Extras Office 111
5.7 Kyoto Costume Institute, Japan 111
5.7.1 History 112
5.7.2 Collection 112
5.8 Museum of Fashion Institute of Technology, New York, USA 113
5.8.1 History 113
5.8.2 Collection 114
5.9 Museo Del Traje, Spain 115
5.9.1 History 115
5.9.2 Collection 116
5.10 Fashion Institute of Design & Merchandising, California 116
5.10.1 History 117
5.10.2 Collection 117
5.11 Kent State University Museum, USA 117
5.11.1 History 118
5.11.2 Collection 119
5.12 Conclusion 119
References 119
6 Documentation of Museum Textiles 123
Simmi Bhagat and Radhana Raheja
6.1 Introduction 123
6.2 Functions of Documentation 124
6.3 Features of Documentation System 125
6.4 Collection Management Policy 126
6.5 Assessment Standards 128
6.5.1 Collection Assessment 128
6.5.2 Assessment of Objects 129
6.6 Types of Documentation 130
6.6.1 Written Description 130
6.6.2 Photographic Records 131
6.7 Formats of Documentation 136
6.7.1 Styles of Written Documentation 136
6.7.2 Manual and Digitized Documentation 136
6.8 Case Study 137
6.9 Conclusion 141
References 141
7 Ideal Storage Conditions for Museum Textiles 143
Simmi Bhagat and Kanika Sachdeva
7.1 Introduction 143
7.2 Published Standards in Museum Storage 144
7.3 Storage Design and Architecture 145
7.3.1 Museum Storage Building and Space Allocation 146
7.3.2 Building Monitoring and Maintenance 146
7.4 Environmental Conditions 147
7.4.1 Temperature and Relative Humidity 147
7.4.2 Light 148
7.5 Storage Techniques 148
7.5.1 Accession and Labeling 149
7.5.2 Flat Storage 149
7.5.3 Rolled Storage 150
7.5.4 Hanging Storage 151
7.5.5 Special Storage 152
7.6 Safety Systems 153
7.6.1 Location, Structural, and Physical Protection 153
7.6.2 Perimeter Alarms 153
7.6.3 Invigilation 154
7.6.4 Key Security 154
7.7 Disaster Handling 154
7.7.1 Protecting from Fire 155
7.7.2 Protecting from Floods 155
7.7.3 Protecting from Pests 156
7.7.4 Day-to-Day Maintenance 156
7.8 Managing Dust and Dirt 157
7.9 Pollutants 157
7.10 Conclusion 159
References 159
8 Tools and Methods for Handling and Storage of Museum Textiles 161
Pratikhya Badanayak, Seiko Jose, Ragini Dubey and Ritu Pandey
8.1 Introduction 161
8.2 Care, Maintenance, and Handling of Museum Textiles 162
8.2.1 General Storage Factors 162
8.2.2 General Guideline in Handling 163
8.3 Ideal Conditions, Temperature, Humidity 163
8.4 Storage Units 163
8.5 Storage Materials 164
8.6 Tools Used in Maintenance of Museum Textiles 164
8.6.1 Equipping the Workspace 164
8.6.2 Housekeeping 164
8.6.2.1 Cleaning the Collection and Environment 166
8.6.2.2 Basic and Best Practices for Checking and Monitoring in Museum 166
8.6.3 Materials and Supplies 167
8.6.3.1 Handling 167
8.6.4 Packing and Unpacking 168
8.6.5 Moving 170
8.6.6 Rolling and Unrolling 170
8.7 Labeling 170
8.8 Cleaning 171
8.9 Dealing with Separations 171
8.10 Tools Used for Displaying Museum Textiles 172
8.10.1 Showcases and Galleries 172
8.10.2 Frames 172
8.10.3 Mannequins 173
8.10.4 Hangers 174
8.11 Handling During Transportation 175
8.11.1 By Road 175
8.11.2 By Rail 176
8.11.3 By Sea 176
8.11.4 By Air 176
8.12 Handling Techniques and Conservation Practices of Ancient Textiles in Museums 177
8.12.1 Egyptian Shroud 177
8.12.2 Jordanian Belt 177
8.12.3 Silk Textile 177
8.12.4 Coptic Tapestry 178
8.13 Conclusions 178
References 178
9 Roles and Responsibilities of Museum Professionals 181
Kanika Sachdeva
9.1 Introduction 181
9.2 History of Museums Professionals Training in India 182
9.3 Roles in a Textile Museum 182
9.3.1 Conservator 185
9.3.2 Conservation Scientist 185
9.3.3 Curator 186
9.3.4 Collections Manager 187
9.3.5 Registrar/Documentalist 187
9.3.6 Historian 188
9.3.7 Exhibition Coordinator/Designer 188
9.3.8 Museum Education Officer 189
9.3.9 Photographer 189
9.3.10 Information Technologist 190
9.3.11 Health and Safety Officer 190
9.3.12 Security Officer 191
9.4 Conclusion 191
References 191
10 Ancient Weaving and Dyeing Techniques 193
Hannah Dewey, Meghan Lord, Seonyoung Youn, Januka Budhathoki-Uprety and Kavita Mathur
10.1 Introduction to Weaving 193
10.2 Ancient Weaving by Geographical Region 194
10.2.1 In the Middle East and Central Eurasia 194
10.2.2 In Egypt 195
10.2.3 In Greece, Italy, and Romania 196
10.2.4 In India 198
10.2.5 In Southeast Asia and China 199
10.2.6 In The Americas 200
10.3 Conclusion on Weaving Techniques 203
10.4 Introduction to Dyes and Dyeing Technologies 203
10.5 Ancient Dyes, Pigments, and Dyeing Technologies 203
10.5.1 Indigoids (Indigo and Tyrian Purple) 203
10.5.2 Quinonoids (Madder) 204
10.5.3 Carotenoids (Saffron) 204
10.5.4 Flavonoids 205
10.5.5 Dihydropyran (Brazilwood and Logwood) 205
10.5.6 Tannins 205
10.6 Conclusion 205
References 205
11 Armours: Ancient Metallic Textiles 209
Ritu Pandey, Ragini Dubey, Pintu Pandit, Suruchi Pandey, Mukesh Kumar Sinha and Amarish Dubey
11.1 Introduction 209
11.2 Parts of Armour and Accessories 210
11.2.1 Helmet 210
11.2.2 Coif 210
11.2.3 Ventail 213
11.2.4 Mail 213
11.2.5 Hauberk 213
11.2.6 Gauntlet and Pauldron 213
11.2.7 Sabatons and Greaves 214
11.3 Armour Designs 215
11.4 Armour Materials 215
11.5 Metallic Costume of King Tutankhamen 217
11.6 Conclusion 217
References 218
12 Textile Conservation in India: A Case Series 219
Deepshikha Kalsi, Elizabeth-Anne Haldane and Lynda Hillyer
12.1 Introduction 219
12.2 Internship Training in Textile Conservation at the V&A 220
12.2.1 Condition Assessment 221
12.2.2 Case Study: Conservation of a Painted and Dyed Cotton Chintz Appliqué Panel 221
12.2.3 Condition Assessment 222
12.2.4 Conservation Treatment and Mounting 222
12.3 Setting Up a Textile Conservation Studio in India 224
12.4 Conservation of an 19th Century Jama 225
12.5 Case Study--Conservation of a Military Frock Coat 227
12.5.1 Historical Context 227
12.5.2 Documentation of Construction and Condition Assessment 228
12.5.3 Conservation Treatment 229
12.5.4 Customizing the Mannequin Mount 232
12.6 Developing Display and Mounting Solutions for Flat Textiles and Costumes for the Special Exhibition PRA-KASHI Silk, Gold and Silver from the City of Lights at the National Museum, New Delhi 232
12.7 Technical Analysis and Documentation 233
12.8 Training and Outreach 234
12.8.1 Case Study--Indian Museum, Kolkata 235
12.8.2 Case Study--The Registry of Sarees, Bangalore 235
12.9 Conclusion 236
Acknowledgments 237
References 237
13 Symbolism and Conservation of Indigenous African Textiles for Museums 239
Raphael Kanyire Seidu, Ebenezer Kofi Howard, Edward Apau and Benjamin Eghan
13.1 Introduction 239
13.2 Types of Indigenous African Textiles 240
13.2.1 African Weave Traditions 240
13.2.1.1 Smock Weaves/Fugu 240
13.2.1.2 Aso-Oke 242
13.2.1.3 Kente 243
13.2.1.4 Kete 244
13.2.1.5 Akwete 245
13.2.1.6 Berber Cloth 246
13.2.1.7 Shuka Cloth 247
13.2.1.8 Kuba Raffia Cloth 247
13.2.2 African Dye Traditions 248
13.2.2.1 Adire 248
13.2.2.2 Ukara 250
13.2.2.3 Mud Cloth 251
13.2.3 African Print Traditions 253
13.2.3.1 Adinkra Cloth 253
13.2.3.2 Kanga Cloth 255
13.2.3.3 Shweshwe 256
13.2.3.4 Ankara or African Wax Prints (West Africa) or Kitenge (East Africa) 256
13.2.4 Other African Traditions 257
13.2.4.1 Bark Cloth 257
13.2.4.2 Fon Appliqué Cloth 258
13.3 Indigenous African Textiles Techniques 259
13.4 Museums in African 259
13.4.1 Challenges of Museums in Africa 260
13.4.2 Contribution of Technology for African Museums 260
13.5 Conclusion 261
References 261
Appendix (Figure sources) 265
14 Conservation of Textile Immemorial: The Fading Past of Uttarakhand Museums 267
Pooja Singh and Alka Goel
14.1 Introduction 267
14.2 Materials and Methods 269
14.2.1 Selection of Locale 269
14.2.2 Tool Preparation and Data Collection 269
14.2.3 Data Collection 269
14.2.4 Statistical Analysis of the Data 270
14.2.4.1 Weighted Mean Score 270
14.3 Results and Discussion 270
14.3.1 General Information About the Museums 270
14.3.1.1 The Number of People Who Work at the Museums that Have Been Chosen 270
14.3.1.2 Conservation Laboratories 271
14.3.1.3 Acquisition of Textile Antiquities 272
12.3.1.4 Ageing of Textile Articles Placed in Different Museums 274
14.3.1.5 Air Circulation Facilities in Museums 274
14.3.1.6 Protective Measures Used to Protect the Windows/ Ventilators From Sunlight and Dust 275
14.3.1.7 Methods Used for Identification of Fibers 276
14.3.1.8 The Details of Temperature and Relative Humidity Ranges in a Variety of Museums 276
14.3.2 Types of Display Techniques Used for Textile Antiquities 276
14.3.2.1 Labeling Methods Carried Out for the Displayed Artifacts 279
14.3.3 Storage Equipments Used in Selected Museums 280
14.3.4 The Collection of Textile Artifacts Collections in Various Museums of Uttarakhand 281
14.3.4.1 Details of Stored Textile Materials 281
14.3.4.2 Govind Ballabh Pant Museum, Almora 281
14.3.4.3 Tribal Museum, Munsyari 282
14.3.4.4 Kumaon Regiment Museum, Ranikhet 282
14.3.4.5 Lok Sangrah, Folk Culture Museum, Bhimtal 283
14.3.4.6 Jim Corbett Museum 283
14.3.4.7 Gurney House Museum, Nainital 284
14.3.5 Various Methods of Prevention Used in Various Selected Museums 284
14.3.5.1 Covering Materials Used for Various Artifacts Displayed in Selected Museums 285
14.3.5.2 Special Kind of Lighting System in the Museum to Protect the Textiles/Garments From Fading/Ageing 286
14.3.5.3 Touching on Museum Antiquities 287
14.3.6 Conservation Techniques Used in the Museum 287
14.3.6.1 Pretreatments Given to Textile Antiquities and Display Boards 287
14.3.6.2 Methods of Reinforcing the Deteriorated Textile Antiquities 288
14.3.6.3 Backing Material Used in Conservation of Museum Textiles 288
14.4 Conclusion 289
References 289
15 The Conservation and Display of Indian Textiles at the Victoria and Albert Museum 291
Elizabeth-Anne Haldane, Lynda Hillyer and Deepshikha Kalsi
15.1 Introduction to the V&A and the Indian Textile Collections 291
15.2 Care of Collections 294
15.3 Conservation 295
15.3.1 Principles of Conservation 295
15.3.2 Assessing Condition, Causes of Deterioration 295
15.3.3 Preventive Conservation 297
15.3.4 Understanding the Object--Context and Scientific Investigation 297
15.4 Object Treatment 300
15.4.1 Object Treatment--Cleaning 300
15.4.2 Surface Cleaning and Humidification 301
15.4.3 Wet Cleaning 303
15.4.4 Solvent Cleaning 305
15.4.5 Stabilization and Support 306
15.5 Display 308
15.6 Conclusion 312
Acknowledgments 312
References 313
16 Between Science and Art: Activities of the Natural Dyeing Laboratory 315
Katarzyna Schmidt-Przewozna
16.1 Introduction 315
16.2 Promotion of Antique Dyes, Pigments, and Prints 320
16.2.1 Projects 320
16.2.2 Workshop and Exhibitions 321
16.2.3 Color Catalog of Ancient Dye and Its Reproduction 323
16.2.4 Reconstruction of Ancient Dyeing Techniques 323
16.3 Analysis of Antique Polish Kontush Sash Dyeing Material: A Case Study 324
16.4 Conclusion 325
Acknowledgment 326
References 326
17 Visitor Interactions and Museum Textiles 327
Kanika Sachdeva and Divya Singhal Gupta
17.1 Introduction 327
17.2 Textile Exhibitions--Challenges in Display 328
17.2.1 Display Method 328
17.2.1.1 Open Display or Display Cases 329
17.2.1.2 Display Design 330
17.2.1.3 Points to be Considered While Planning a Textile Display 332
17.2.1.4 Level of Interaction Between the Visitors and the Objects on Display 333
17.2.2 Display Lighting 334
17.2.2.1 Hacks for Appropriate Lighting of Textile Exhibitions in Museums 335
17.3 Exhibition Protocols Followed by the Museum 335
17.3.1 Safety Guidelines--Visitor Safety, Conduct and Access 335
17.3.2 Safety of Museum Artifacts 336
17.3.3 Let Us Look at Some Examples of the Protocols Followed by the Museums and the Changes that Have Taken Place After the Pandemic 336
17.4 Photography and Memorabilia 336
17.5 Access Guidelines for Museum Storage 337
17.6 An Ideal Textile Exhibition 338
17.6.1 Case Study 1 338
17.6.2 Case Study 2 338
17.7 Conclusion 339
References 339
18 Educational Value of Clothing and Textile Museums 341
Sara Marcketti and Jennifer Gordon
18.1 Introduction 341
18.2 Importance of Conservation in Textiles and Clothing Collections 342
18.3 Frameworks for Material Culture Analysis in the Learning Process 344
18.4 The Value of Collections to Students' Education 344
18.4.1 The Collection at Iowa State University 345
18.5 Taxonomy of Significant Learning and Collections 345
18.5.1 Foundational Knowledge 346
18.5.2 Application 347
18.5.3 Integration 348
18.5.4 Human Dimensions 349
18.5.5 Caring 350
18.5.6 Learning How to Learn 351
18.6 Conclusion 352
References 352
19 Career in Textile Museum 355
Maanasaa Sethuraman, Suruchi Pandey and Ritu Pandey
19.1 Introduction 355
19.2 Sources of Textile Museum Collections 356
19.3 Scope of Careers in Textile Museum 358
19.3.1 Job Opportunities 358
19.3.1.1 Public Sector 359
19.3.1.2 Private Sector 361
19.3.1.3 Opportunities Offshores 362
19.3.2 Changing Hiring Trends 362
19.3.2.1 Work-Life Balance in Careers in Museum Textile 363
19.3.2.2 Job Description 363
19.4 Glimpses of Work in Progress on Museum Textile 366
19.5 Sourcing for Talent at Textile Museums 369
19.5.1 Private Job Sites 369
19.5.2 Museum Websites 370
19.5.3 Consultant Hiring 371
19.5.4 Social Media 371
19.5.5 Newspaper Advertisement 371
19.5.6 Word of Mouth 372
19.5.7 Campus Hiring 372
19.6 Educational Opportunities 374
19.6.1 School or Pre-University Level 374
19.6.2 University Level (Under Graduation) 374
19.6.3 Postgraduation 374
19.7 Sample Organization Structure 375
19.8 Limitations and Challenges in the Field of Textile Museum 375
19.9 Conclusion 375
Acknowledgment 379
References 379
Index 383
1 Textile Museums: Its Importance, Objectives and Functions 1
Vandana Gupta and Mangesh S. Manekar
1.1 Introduction 1
1.2 Museum Definition and Its Existence 2
1.3 Textile Museums and Their History 4
1.4 Importance of Textile Museums 6
1.4.1 Connective Value 6
1.4.2 Collective Value 7
1.4.3 Educative Value 10
1.4.4 Economic Value 11
1.5 Objectives of Textile Museum 14
1.6 Function of Textile Museum 14
1.7 Textile Museum and Their Future Prospects 16
1.8 Conclusion 16
References 16
2 Textile Intangible Cultural Heritage of the World 19
Ritu Pandey, Vandana Gupta, Pintu Pandit, Kumar Rohit and Suruchi Pandey
2.1 Introduction 19
2.1.1 Ancient Textiles of the World 20
2.2 Ancient Textiles of the World: Techniques and Historical Perspective 24
2.2.1 Ancient Heritage Textiles--Asia and Australia 24
2.2.1.1 Chinese Textiles 24
2.2.1.2 Japanese Textiles 24
2.2.1.3 Indian Textile 26
2.2.1.4 Turkish Textiles 27
2.2.1.5 Persian Rugs 27
2.2.2 African Textile 28
2.2.3 Scandinavian Textile Design 29
2.2.4 American Textiles 30
2.3 Role of Museum: Textile as a Part of Heritage and Culture 32
2.4 Marketing Strategies for Museums and Conservation 33
2.5 Conclusion 35
References 35
3 Important Woven Textile Specimens in World Museums 39
Karthika Audinet
3.1 Introduction 39
3.2 Methodology 40
3.3 Prehistoric Textiles 42
3.3.1 Textile Specimen 1.3.1 44
3.3.2 Textile Specimen 1.3.2 44
3.3.3 Textile Specimen 1.3.3 45
3.3.4 Textile Specimen 1.3.4 45
3.3.5 Textile Specimen 1.3.5 46
3.3.6 Textile Specimen 1.3.6 46
3.4 Textiles from Peru 46
3.4.1 Textile Specimen 1.4.1 48
3.4.2 Textile Specimen 1.4.2 48
3.4.3 Textile Specimen 1.4.3 49
3.4.4 Textile Specimen 1.4.4 49
3.4.5 Textile Specimen 1.4.5 49
3.4.6 Textile Specimen 1.4.6 50
3.4.7 Textile Specimen 1.4.7 50
3.5 Chinese Textiles 50
3.5.1 Textile Specimen 1.5.1 52
3.5.2 Textile Specimen 1.5.2 52
3.5.3 Textile Specimen 1.5.3 53
3.5.4 Textile Specimen 1.5.4 54
3.5.5 Textile Specimen 1.5.5 54
3.5.6 Textile Specimen 1.5.6 55
3.5.7 Textile Specimen 1.5.7 55
3.6 Textiles from the Indian Subcontinent 56
3.6.1 Textile Specimen 1.6.1 57
3.6.2 Textile Specimen 1.6.2 58
3.6.3 Textile Specimen 1.6.3 58
3.6.4 Textile Specimen 1.6.4 58
3.6.5 Textile Specimen 1.6.5 59
3.6.6 Textile Specimen 1.6.6 59
3.6.7 Textile Specimen 1.6.7 59
3.7 Textiles from Sudan, Egypt, Mali, and Ghana (North and West African Textiles) 60
3.7.1 Textile Specimen 1.7.1 61
3.7.2 Textile Specimen 1.7.2 62
3.7.3 Textile Specimen 1.7.3 63
3.7.4 Textile Specimen 1.7.4 63
3.8 Textiles from Japan 64
3.8.1 Textile Specimen 1.8.1 65
3.8.2 Textile Specimen 1.8.2 65
3.8.3 Textile Specimen 1.8.3 66
3.8.4 Textile Specimen 1.8.4 66
3.8.5 Textile Specimen 1.8.5 66
3.8.6 Textile Specimen 1.8.6 67
3.9 Textiles from Iran and Central Asia 67
3.9.1 Textile Specimen 1.9.1 69
3.9.2 Textile Specimen 1.9.2 69
3.9.3 Textile Specimen 1.9.3 69
3.9.4 Textile Specimen 1.9.4 70
3.9.5 Textile Specimen 1.9.5 70
3.10 Textiles from Italy and France 71
3.10.1 Textile Specimen 1.10.1 73
3.10.2 Textile Specimen 1.10.2 73
3.10.3 Textile Specimen 1.10.3 73
3.10.4 Textile Specimen 1.10.4 73
3.11 Conclusion: Toward an Understanding of the Historic Foundations of Woven Structures 74
References 77
List of Museums 82
Glossary 83
4 Types of Conservation of Textiles in the Museum: Their Importance and Scope 87
K. B. Binita and B. Sunita
4.1 Introduction 87
4.2 Importance of Conservation 88
4.3 Principles of Conservation 89
4.3.1 Determining the Need and Laying the Foundation for Conservation 89
4.3.2 The Conservation Assessment and Process 89
4.3.3 Obtaining a Conservation Assessment 89
4.3.4 Selecting an Assessor or Conservator 89
4.3.5 The Assessment as a Planning Tool 90
4.3.6 Conservation Collection Condition Survey 90
4.3.7 Object Treatment 90
4.3.8 Risk Assessment and Management 90
4.4 Types of Textile Articles Conserved 90
4.5 Methods of Conservation 91
4.5.1 Preventive Conservation 91
4.5.1.1 Climate 92
4.5.1.2 Light 92
4.5.1.3 Insects 93
4.5.1.4 Microorganisms 93
4.5.1.5 Dust, Soil, and Other Contaminants 94
4.5.1.6 Disaster 94
4.5.2 Curative/Interventive Conservation 95
4.5.2.1 Surface Cleaning 95
4.5.2.2 Vacuuming 95
4.5.2.3 Wet Cleaning 95
4.5.2.4 Solvent or Dry Cleaning 96
4.5.2.5 Stabilization 96
4.6 Storage, Display, and Handling of Museum Textiles 96
4.7 Scope of Conservation 97
4.7.1 Education and Knowledge Dissemination 97
4.7.2 Lecture, Seminar, Workshops, and Research 98
4.7.3 Photography and Publication 98
4.8 New Approaches in Conservation 98
4.9 Conclusion 99
References 99
Webliography 100
5 Fashion and Textile Museums Across the Globe 101
Arpana Kamboj and Surabhi Mahajan
5.1 Introduction 101
5.2 Victoria and Albert Museum, London 103
5.2.1 History 103
5.2.2 Collection 104
5.3 Fashion Museum, Bath, UK 104
5.3.1 History 104
5.3.2 Collection 105
5.4 Metropolitan Museum of Art, New York City 106
5.4.1 History 106
5.4.2 Collection 107
5.5 Musée De La Mode Et Du Textile, France 108
5.5.1 History 108
5.5.2 Collection 109
5.6 Palais Galliera, France 109
5.6.1 History 110
5.6.2 Collection 110
5.6.2.1 Eighteenth Century Dress Office 110
5.6.2.2 Nineteenth Century Ensembles Division 111
5.6.2.3 Fashion of the Principal Half of 20th Century 111
5.6.2.4 Haute Couture 111
5.6.2.5 Contemporary Office 111
5.6.2.6 Extras Office 111
5.7 Kyoto Costume Institute, Japan 111
5.7.1 History 112
5.7.2 Collection 112
5.8 Museum of Fashion Institute of Technology, New York, USA 113
5.8.1 History 113
5.8.2 Collection 114
5.9 Museo Del Traje, Spain 115
5.9.1 History 115
5.9.2 Collection 116
5.10 Fashion Institute of Design & Merchandising, California 116
5.10.1 History 117
5.10.2 Collection 117
5.11 Kent State University Museum, USA 117
5.11.1 History 118
5.11.2 Collection 119
5.12 Conclusion 119
References 119
6 Documentation of Museum Textiles 123
Simmi Bhagat and Radhana Raheja
6.1 Introduction 123
6.2 Functions of Documentation 124
6.3 Features of Documentation System 125
6.4 Collection Management Policy 126
6.5 Assessment Standards 128
6.5.1 Collection Assessment 128
6.5.2 Assessment of Objects 129
6.6 Types of Documentation 130
6.6.1 Written Description 130
6.6.2 Photographic Records 131
6.7 Formats of Documentation 136
6.7.1 Styles of Written Documentation 136
6.7.2 Manual and Digitized Documentation 136
6.8 Case Study 137
6.9 Conclusion 141
References 141
7 Ideal Storage Conditions for Museum Textiles 143
Simmi Bhagat and Kanika Sachdeva
7.1 Introduction 143
7.2 Published Standards in Museum Storage 144
7.3 Storage Design and Architecture 145
7.3.1 Museum Storage Building and Space Allocation 146
7.3.2 Building Monitoring and Maintenance 146
7.4 Environmental Conditions 147
7.4.1 Temperature and Relative Humidity 147
7.4.2 Light 148
7.5 Storage Techniques 148
7.5.1 Accession and Labeling 149
7.5.2 Flat Storage 149
7.5.3 Rolled Storage 150
7.5.4 Hanging Storage 151
7.5.5 Special Storage 152
7.6 Safety Systems 153
7.6.1 Location, Structural, and Physical Protection 153
7.6.2 Perimeter Alarms 153
7.6.3 Invigilation 154
7.6.4 Key Security 154
7.7 Disaster Handling 154
7.7.1 Protecting from Fire 155
7.7.2 Protecting from Floods 155
7.7.3 Protecting from Pests 156
7.7.4 Day-to-Day Maintenance 156
7.8 Managing Dust and Dirt 157
7.9 Pollutants 157
7.10 Conclusion 159
References 159
8 Tools and Methods for Handling and Storage of Museum Textiles 161
Pratikhya Badanayak, Seiko Jose, Ragini Dubey and Ritu Pandey
8.1 Introduction 161
8.2 Care, Maintenance, and Handling of Museum Textiles 162
8.2.1 General Storage Factors 162
8.2.2 General Guideline in Handling 163
8.3 Ideal Conditions, Temperature, Humidity 163
8.4 Storage Units 163
8.5 Storage Materials 164
8.6 Tools Used in Maintenance of Museum Textiles 164
8.6.1 Equipping the Workspace 164
8.6.2 Housekeeping 164
8.6.2.1 Cleaning the Collection and Environment 166
8.6.2.2 Basic and Best Practices for Checking and Monitoring in Museum 166
8.6.3 Materials and Supplies 167
8.6.3.1 Handling 167
8.6.4 Packing and Unpacking 168
8.6.5 Moving 170
8.6.6 Rolling and Unrolling 170
8.7 Labeling 170
8.8 Cleaning 171
8.9 Dealing with Separations 171
8.10 Tools Used for Displaying Museum Textiles 172
8.10.1 Showcases and Galleries 172
8.10.2 Frames 172
8.10.3 Mannequins 173
8.10.4 Hangers 174
8.11 Handling During Transportation 175
8.11.1 By Road 175
8.11.2 By Rail 176
8.11.3 By Sea 176
8.11.4 By Air 176
8.12 Handling Techniques and Conservation Practices of Ancient Textiles in Museums 177
8.12.1 Egyptian Shroud 177
8.12.2 Jordanian Belt 177
8.12.3 Silk Textile 177
8.12.4 Coptic Tapestry 178
8.13 Conclusions 178
References 178
9 Roles and Responsibilities of Museum Professionals 181
Kanika Sachdeva
9.1 Introduction 181
9.2 History of Museums Professionals Training in India 182
9.3 Roles in a Textile Museum 182
9.3.1 Conservator 185
9.3.2 Conservation Scientist 185
9.3.3 Curator 186
9.3.4 Collections Manager 187
9.3.5 Registrar/Documentalist 187
9.3.6 Historian 188
9.3.7 Exhibition Coordinator/Designer 188
9.3.8 Museum Education Officer 189
9.3.9 Photographer 189
9.3.10 Information Technologist 190
9.3.11 Health and Safety Officer 190
9.3.12 Security Officer 191
9.4 Conclusion 191
References 191
10 Ancient Weaving and Dyeing Techniques 193
Hannah Dewey, Meghan Lord, Seonyoung Youn, Januka Budhathoki-Uprety and Kavita Mathur
10.1 Introduction to Weaving 193
10.2 Ancient Weaving by Geographical Region 194
10.2.1 In the Middle East and Central Eurasia 194
10.2.2 In Egypt 195
10.2.3 In Greece, Italy, and Romania 196
10.2.4 In India 198
10.2.5 In Southeast Asia and China 199
10.2.6 In The Americas 200
10.3 Conclusion on Weaving Techniques 203
10.4 Introduction to Dyes and Dyeing Technologies 203
10.5 Ancient Dyes, Pigments, and Dyeing Technologies 203
10.5.1 Indigoids (Indigo and Tyrian Purple) 203
10.5.2 Quinonoids (Madder) 204
10.5.3 Carotenoids (Saffron) 204
10.5.4 Flavonoids 205
10.5.5 Dihydropyran (Brazilwood and Logwood) 205
10.5.6 Tannins 205
10.6 Conclusion 205
References 205
11 Armours: Ancient Metallic Textiles 209
Ritu Pandey, Ragini Dubey, Pintu Pandit, Suruchi Pandey, Mukesh Kumar Sinha and Amarish Dubey
11.1 Introduction 209
11.2 Parts of Armour and Accessories 210
11.2.1 Helmet 210
11.2.2 Coif 210
11.2.3 Ventail 213
11.2.4 Mail 213
11.2.5 Hauberk 213
11.2.6 Gauntlet and Pauldron 213
11.2.7 Sabatons and Greaves 214
11.3 Armour Designs 215
11.4 Armour Materials 215
11.5 Metallic Costume of King Tutankhamen 217
11.6 Conclusion 217
References 218
12 Textile Conservation in India: A Case Series 219
Deepshikha Kalsi, Elizabeth-Anne Haldane and Lynda Hillyer
12.1 Introduction 219
12.2 Internship Training in Textile Conservation at the V&A 220
12.2.1 Condition Assessment 221
12.2.2 Case Study: Conservation of a Painted and Dyed Cotton Chintz Appliqué Panel 221
12.2.3 Condition Assessment 222
12.2.4 Conservation Treatment and Mounting 222
12.3 Setting Up a Textile Conservation Studio in India 224
12.4 Conservation of an 19th Century Jama 225
12.5 Case Study--Conservation of a Military Frock Coat 227
12.5.1 Historical Context 227
12.5.2 Documentation of Construction and Condition Assessment 228
12.5.3 Conservation Treatment 229
12.5.4 Customizing the Mannequin Mount 232
12.6 Developing Display and Mounting Solutions for Flat Textiles and Costumes for the Special Exhibition PRA-KASHI Silk, Gold and Silver from the City of Lights at the National Museum, New Delhi 232
12.7 Technical Analysis and Documentation 233
12.8 Training and Outreach 234
12.8.1 Case Study--Indian Museum, Kolkata 235
12.8.2 Case Study--The Registry of Sarees, Bangalore 235
12.9 Conclusion 236
Acknowledgments 237
References 237
13 Symbolism and Conservation of Indigenous African Textiles for Museums 239
Raphael Kanyire Seidu, Ebenezer Kofi Howard, Edward Apau and Benjamin Eghan
13.1 Introduction 239
13.2 Types of Indigenous African Textiles 240
13.2.1 African Weave Traditions 240
13.2.1.1 Smock Weaves/Fugu 240
13.2.1.2 Aso-Oke 242
13.2.1.3 Kente 243
13.2.1.4 Kete 244
13.2.1.5 Akwete 245
13.2.1.6 Berber Cloth 246
13.2.1.7 Shuka Cloth 247
13.2.1.8 Kuba Raffia Cloth 247
13.2.2 African Dye Traditions 248
13.2.2.1 Adire 248
13.2.2.2 Ukara 250
13.2.2.3 Mud Cloth 251
13.2.3 African Print Traditions 253
13.2.3.1 Adinkra Cloth 253
13.2.3.2 Kanga Cloth 255
13.2.3.3 Shweshwe 256
13.2.3.4 Ankara or African Wax Prints (West Africa) or Kitenge (East Africa) 256
13.2.4 Other African Traditions 257
13.2.4.1 Bark Cloth 257
13.2.4.2 Fon Appliqué Cloth 258
13.3 Indigenous African Textiles Techniques 259
13.4 Museums in African 259
13.4.1 Challenges of Museums in Africa 260
13.4.2 Contribution of Technology for African Museums 260
13.5 Conclusion 261
References 261
Appendix (Figure sources) 265
14 Conservation of Textile Immemorial: The Fading Past of Uttarakhand Museums 267
Pooja Singh and Alka Goel
14.1 Introduction 267
14.2 Materials and Methods 269
14.2.1 Selection of Locale 269
14.2.2 Tool Preparation and Data Collection 269
14.2.3 Data Collection 269
14.2.4 Statistical Analysis of the Data 270
14.2.4.1 Weighted Mean Score 270
14.3 Results and Discussion 270
14.3.1 General Information About the Museums 270
14.3.1.1 The Number of People Who Work at the Museums that Have Been Chosen 270
14.3.1.2 Conservation Laboratories 271
14.3.1.3 Acquisition of Textile Antiquities 272
12.3.1.4 Ageing of Textile Articles Placed in Different Museums 274
14.3.1.5 Air Circulation Facilities in Museums 274
14.3.1.6 Protective Measures Used to Protect the Windows/ Ventilators From Sunlight and Dust 275
14.3.1.7 Methods Used for Identification of Fibers 276
14.3.1.8 The Details of Temperature and Relative Humidity Ranges in a Variety of Museums 276
14.3.2 Types of Display Techniques Used for Textile Antiquities 276
14.3.2.1 Labeling Methods Carried Out for the Displayed Artifacts 279
14.3.3 Storage Equipments Used in Selected Museums 280
14.3.4 The Collection of Textile Artifacts Collections in Various Museums of Uttarakhand 281
14.3.4.1 Details of Stored Textile Materials 281
14.3.4.2 Govind Ballabh Pant Museum, Almora 281
14.3.4.3 Tribal Museum, Munsyari 282
14.3.4.4 Kumaon Regiment Museum, Ranikhet 282
14.3.4.5 Lok Sangrah, Folk Culture Museum, Bhimtal 283
14.3.4.6 Jim Corbett Museum 283
14.3.4.7 Gurney House Museum, Nainital 284
14.3.5 Various Methods of Prevention Used in Various Selected Museums 284
14.3.5.1 Covering Materials Used for Various Artifacts Displayed in Selected Museums 285
14.3.5.2 Special Kind of Lighting System in the Museum to Protect the Textiles/Garments From Fading/Ageing 286
14.3.5.3 Touching on Museum Antiquities 287
14.3.6 Conservation Techniques Used in the Museum 287
14.3.6.1 Pretreatments Given to Textile Antiquities and Display Boards 287
14.3.6.2 Methods of Reinforcing the Deteriorated Textile Antiquities 288
14.3.6.3 Backing Material Used in Conservation of Museum Textiles 288
14.4 Conclusion 289
References 289
15 The Conservation and Display of Indian Textiles at the Victoria and Albert Museum 291
Elizabeth-Anne Haldane, Lynda Hillyer and Deepshikha Kalsi
15.1 Introduction to the V&A and the Indian Textile Collections 291
15.2 Care of Collections 294
15.3 Conservation 295
15.3.1 Principles of Conservation 295
15.3.2 Assessing Condition, Causes of Deterioration 295
15.3.3 Preventive Conservation 297
15.3.4 Understanding the Object--Context and Scientific Investigation 297
15.4 Object Treatment 300
15.4.1 Object Treatment--Cleaning 300
15.4.2 Surface Cleaning and Humidification 301
15.4.3 Wet Cleaning 303
15.4.4 Solvent Cleaning 305
15.4.5 Stabilization and Support 306
15.5 Display 308
15.6 Conclusion 312
Acknowledgments 312
References 313
16 Between Science and Art: Activities of the Natural Dyeing Laboratory 315
Katarzyna Schmidt-Przewozna
16.1 Introduction 315
16.2 Promotion of Antique Dyes, Pigments, and Prints 320
16.2.1 Projects 320
16.2.2 Workshop and Exhibitions 321
16.2.3 Color Catalog of Ancient Dye and Its Reproduction 323
16.2.4 Reconstruction of Ancient Dyeing Techniques 323
16.3 Analysis of Antique Polish Kontush Sash Dyeing Material: A Case Study 324
16.4 Conclusion 325
Acknowledgment 326
References 326
17 Visitor Interactions and Museum Textiles 327
Kanika Sachdeva and Divya Singhal Gupta
17.1 Introduction 327
17.2 Textile Exhibitions--Challenges in Display 328
17.2.1 Display Method 328
17.2.1.1 Open Display or Display Cases 329
17.2.1.2 Display Design 330
17.2.1.3 Points to be Considered While Planning a Textile Display 332
17.2.1.4 Level of Interaction Between the Visitors and the Objects on Display 333
17.2.2 Display Lighting 334
17.2.2.1 Hacks for Appropriate Lighting of Textile Exhibitions in Museums 335
17.3 Exhibition Protocols Followed by the Museum 335
17.3.1 Safety Guidelines--Visitor Safety, Conduct and Access 335
17.3.2 Safety of Museum Artifacts 336
17.3.3 Let Us Look at Some Examples of the Protocols Followed by the Museums and the Changes that Have Taken Place After the Pandemic 336
17.4 Photography and Memorabilia 336
17.5 Access Guidelines for Museum Storage 337
17.6 An Ideal Textile Exhibition 338
17.6.1 Case Study 1 338
17.6.2 Case Study 2 338
17.7 Conclusion 339
References 339
18 Educational Value of Clothing and Textile Museums 341
Sara Marcketti and Jennifer Gordon
18.1 Introduction 341
18.2 Importance of Conservation in Textiles and Clothing Collections 342
18.3 Frameworks for Material Culture Analysis in the Learning Process 344
18.4 The Value of Collections to Students' Education 344
18.4.1 The Collection at Iowa State University 345
18.5 Taxonomy of Significant Learning and Collections 345
18.5.1 Foundational Knowledge 346
18.5.2 Application 347
18.5.3 Integration 348
18.5.4 Human Dimensions 349
18.5.5 Caring 350
18.5.6 Learning How to Learn 351
18.6 Conclusion 352
References 352
19 Career in Textile Museum 355
Maanasaa Sethuraman, Suruchi Pandey and Ritu Pandey
19.1 Introduction 355
19.2 Sources of Textile Museum Collections 356
19.3 Scope of Careers in Textile Museum 358
19.3.1 Job Opportunities 358
19.3.1.1 Public Sector 359
19.3.1.2 Private Sector 361
19.3.1.3 Opportunities Offshores 362
19.3.2 Changing Hiring Trends 362
19.3.2.1 Work-Life Balance in Careers in Museum Textile 363
19.3.2.2 Job Description 363
19.4 Glimpses of Work in Progress on Museum Textile 366
19.5 Sourcing for Talent at Textile Museums 369
19.5.1 Private Job Sites 369
19.5.2 Museum Websites 370
19.5.3 Consultant Hiring 371
19.5.4 Social Media 371
19.5.5 Newspaper Advertisement 371
19.5.6 Word of Mouth 372
19.5.7 Campus Hiring 372
19.6 Educational Opportunities 374
19.6.1 School or Pre-University Level 374
19.6.2 University Level (Under Graduation) 374
19.6.3 Postgraduation 374
19.7 Sample Organization Structure 375
19.8 Limitations and Challenges in the Field of Textile Museum 375
19.9 Conclusion 375
Acknowledgment 379
References 379
Index 383
Seiko Jose is a scientist at Central Sheep and Wool Research Institute, Avikanagar, Rajasthan, India, and specializes in textile chemistry. He has more than 16 years of experience in textiles of which 7 years in the industry and 9 years in research. He has extensive experience in cotton, silk, and linen processing industries as well as natural and synthetic dyes. Since 2013, he has handled many natural fibers like wool, jute, pineapple leaf fiber, coir, ramie, etc. He contributed to more than 40 international peer-reviewed research papers and 11 book chapters.
Sabu Thomas, PhD, is the Vice-Chancellor of Mahathma Gandhi University, Kottayam, Kerala, India. He is a fellow of the Royal Society of Chemistry and has been ranked no.5 in India with regard to the number of publications. Prof. Thomas's research group specializes in the areas of polymers, natural fiber, biocomposites, sorption and diffusion, interpenetrating polymer systems, recyclability and reuse of waste plastics and rubbers, elastomer crosslinking, dual porous nanocomposite scaffolds for tissue engineering, etc. He has published more than 1200 publications as well as over 150 books.
Pintu Pandit, PhD, is an assistant professor in the Textile Design Department at the National Institute of Fashion Technology under the Ministry of Textiles, Govt. of India, Patna campus. He is a PhD (Tech.) and M.Tech. in Fibers and Textile Processing Technology from the Institute of Chemical Technology, Mumbai, India. He has published many research articles in SCI journals as well as edited 4 books with the Wiley-Scrivener imprint.
Ritu Pandey, PhD, is an assistant professor at Chandra Shekhar Azad University of Agriculture & Technology (CSAUAT) Kanpur, India She has 25 years of teaching experience. She has published more than 35 research papers in various national and international journals and her specialist area is in flax.
Vandana Gupta, PhD, is a Professor and Head of Parul Institute of Design & Fine Arts at Parul University, Vadodara, Gujarat. She has worked in reputed fashion and design institutions and was awarded for her academic and administrative contributions. She has several research, review, and book chapter publications in the areas of sustainability, smart textiles, natural dyes, antibacterial and UV protective finishes, museums, and textile design.
Sabu Thomas, PhD, is the Vice-Chancellor of Mahathma Gandhi University, Kottayam, Kerala, India. He is a fellow of the Royal Society of Chemistry and has been ranked no.5 in India with regard to the number of publications. Prof. Thomas's research group specializes in the areas of polymers, natural fiber, biocomposites, sorption and diffusion, interpenetrating polymer systems, recyclability and reuse of waste plastics and rubbers, elastomer crosslinking, dual porous nanocomposite scaffolds for tissue engineering, etc. He has published more than 1200 publications as well as over 150 books.
Pintu Pandit, PhD, is an assistant professor in the Textile Design Department at the National Institute of Fashion Technology under the Ministry of Textiles, Govt. of India, Patna campus. He is a PhD (Tech.) and M.Tech. in Fibers and Textile Processing Technology from the Institute of Chemical Technology, Mumbai, India. He has published many research articles in SCI journals as well as edited 4 books with the Wiley-Scrivener imprint.
Ritu Pandey, PhD, is an assistant professor at Chandra Shekhar Azad University of Agriculture & Technology (CSAUAT) Kanpur, India She has 25 years of teaching experience. She has published more than 35 research papers in various national and international journals and her specialist area is in flax.
Vandana Gupta, PhD, is a Professor and Head of Parul Institute of Design & Fine Arts at Parul University, Vadodara, Gujarat. She has worked in reputed fashion and design institutions and was awarded for her academic and administrative contributions. She has several research, review, and book chapter publications in the areas of sustainability, smart textiles, natural dyes, antibacterial and UV protective finishes, museums, and textile design.
