Textiles were a hugely important Roman industry yet, because of their perishable nature, only fragments remain. These twenty-two essays provide a detailed study of surviving fragments from across the Roman world, from the dry sands of Egypt to the Atlantic coast and the northern frontiers and beyond. The result is a comprehensive reconstruction of both everyday and exotic Roman clothing with information about the influences of fashion and of Roman weaving techniques. Written by friends and colleagues, the contributions are offered as a tribute to John Peter Wild whose own studies of Roman textiles have been the inspiration of so much recent work.

At the heart of this anthology lies the world of fashion: a concept that pervades the realm of clothes and dress; appearances and fashionable manners; interior design; ideas and attitudes. Here sixteen papers focus on the Nordic world (Denmark, Norway, Sweden Finland, Iceland, the Faroe Isles and Greenland) within the time frame AD 1500–1850. This was a period of rapid and far-reaching social, political and economic change, from feudal Europe through political revolution, industrialisation, development of international trade, religious upheaval and technological innovation; changes impacting on every aspect of life and reflected in equally rapid and widespread changes in fashion at all levels of society. These papers present a broad image of the theme of fashion as a concept and as an empirical manifestation in the Nordic countries in early modernity, exploring a variety of ways in which that world encountered fashionable impressions in clothing and related aspects of material culture from Europe, the Russian Empire, and far beyond. The chapters range from object-based studies to theory-driven analysis. Elite and sophisticated fashions, the importation of luxuries and fashion garments, christening and bridal wear, silk knitted waistcoats, woollen sweaters and the influence of the whaling trade on women’s clothing are some of the diverse topics considered, as well as religious influences on perceptions of luxury and aspects of the garment trade and merchant inventories.

The analysis of silk is a fascinating topic for research in itself but here, focusing on the 9th and 10th centuries, Marianne Vedeler takes a closer look at the trade routes and the organization of production, trade and consumption of silk during the Viking Age. Beginning with a presentation of the silk finds in the Oseberg burial, the richest Viking burial find ever discovered, the other silk finds from high status graves in Scandinavia are discussed along with an introduction to the techniques used to produce raw silk and fabrics. Later chapters concentrate on trade and exchange, considering the role of silk items both as trade objects and precious gifts, and in the light of coin finds. The main trade routes of silk to Scandinavia along the Russian rivers, and comparable Russian finds are described and the production and regulation of silk in Persia, early Islamic production areas and the Byzantine Empire discussed. The final chapter considers silk as a social actor in various contexts in Viking societies compared to the Christian west.

Textile production is an economic necessity that has confronted all societies in the past. While most textiles were manufactured at a household level, valued textiles were traded over long distances and these trade networks were influenced by raw material supply, labour skills, costs, as well as by regional traditions. This was true in the Mediterranean regions and Making Textiles in pre-Roman and Roman times explores the abundant archaeological and written evidence to understand the typological and geographical diversity of textile commodities. Beginning in the Iron Age, the volume examines the foundations of the textile trade in Italy and the emergence of specialist textile production in Austria, the impact of new Roman markets on regional traditions and the role that gender played in the production of textiles. Trade networks from far beyond the frontiers of the Empire are traced, whilst the role of specialized merchants dealing in particular types of garment and the influence of Roman collegia on how textiles were produced and distributed are explored. Of these collegia, that of the fullers appears to have been particularly influential at a local level and how cloth was cleaned and treated is examined in detail, using archaeological evidence from Pompeii and provincial contexts to understand the processes behind this area of the textile trade.

Written sources from the ancient Near East and eastern Mediterranean, from the third to the first millennia BC, provide a wealth of terms for textiles. The twenty-two chapters in the present volume offer the first comprehensive survey of this important material, with special attention to evidence for significant interconnections in textile terminology among languages and cultures, across space and time. For example, the Greek word for a long shirt, khiton , ki-to in Linear B, derives from a Semitic root, ktn . But the same root in Akkadian means linen, in Old Assyrian a garment made of wool, and perhaps cotton, in many modern languages. These and numerous other instances underscore the need for detailed studies of both individual cases and the common threads that link them. This example illustrates on the one hand how connected some textiles terms are across time and space, but it also shows how very carefully we must conduct the etymological and terminological enquiry with constantly changing semantics as the common thread. The survey of textile terminologies in 22 chapters presented in this volume demonstrates the interconnections between languages and cultures via textiles.

The European Textile Forum was founded as an annual meeting for academics, craftspeople, re-enactors and enthusiasts to share their experiences and compare notes. With varied day workshops and evening lectures, the ‘Textilforum’ has something for everyone. The conference takes place over a week, which not only allows time to learn new techniques and discuss new findings, but to also undertake lengthy experiments that require a large number of experienced specialists. Textilforum is the practical proving ground to test archaeological theories in appropriate surroundings. This book is the publication of a series of lectures and experiments that were undertaken at the First and Second European Textile Forum in 2009 and 2010. Each had a new approach, exploring a question of textile manufacture in a scientific way, revealing answers and outcomes that were unavailable before. The First European Textile Forum hosted an experiment that found the relationship between archaeological hand-spinning finds and the yarn they produce: only a meeting such as the Textilforum could generate sufficient data for analysis. This scientific approach reflects in contributions describing the reconstruction of tablet-woven artefacts, with explorations of the method of tablet-weaving and a reassessment of archaeological finds and depictions. The Second European Textile Forum explored the practical aspects of undertaking reconstructions such as Stone Age fabrics, Roman dyeing or the clothing of Gunnister Man, including the deconstruction of the original artefact, allowing for the unexpected and the implication of new findings. Techniques for treating raw materials, creating fabrics and finishing artefacts are explored. The wider purpose and legacy of the European Textile Forum is as a foundation for the coming years. The basis for research and communication, with a market for exchanging tools and materials, means that each participant can avoid individually ‘re-inventing the wheel’. The purpose of this book is to share these findings.

Engendering objects explores social and cultural dynamics among Maisin people in Collingwood Bay (Papua New Guinea) through the lens of material culture. Focusing upon the visually stimulating decorated barkcloths that are used as male and female garments, gifts, and commodities, it explores the relationships between these cloths and Maisin people. The main question is how barkcloth, as an object made by women, engenders people’s identities, such as gender, personhood, clan and tribe, through its manufacturing and use. This book describes in detail how barkcloth (tapa) not only visualizes and expresses, but also materializes and defines, people’s multiple identities. By ‘following the object’ and how it is made and used in the performance of life-cycle rituals, in exchanges and in church festivities, this interaction between people and things, and how they are mutually constituted, becomes visible. How are women’s bodies and minds linked with the production of barkcloth? How do cloths produced by women both establish and contest clan identity? In what ways is the commodification of barkcloth related to gender dynamics? Barkcloth and its associated designs show how gender ideologies and the socio-material constructions of identity are performed and, as such, developed, established and contested.The narratives of both men and women reveal the ways in which barkcloth provides a link with the past and dreams for the future. The author argues that the cloths and their designs embody dynamics of Maisin culture and in particular of Maisin gender relations. In contributing to the current debates on the anthropology of ‘art’, this study offers an alternative way of understanding the significance of an object, like decorated barkcloth, in shaping and defining people’s identities within a local colonial and postcolonial setting of Papua New Guinea.“Engendering Objects is among the most comprehensive and innovative new works emerging from Melanesia examining the intimate connections between material culture, cultural identity and gendered personhood. Drawing upon extensive ethnographic fieldwork, archival research and examination of museum collections, Anna-Karina Hermkens traces the enduring yet innovative place of tapa (barkcloth) among the Maisin people. Written with warm compassion and immediacy, the book is a theoretically provocative, accessible and compelling portrait of changing life in a Papua New Guinean village society.” – John Barker, University of British Columbia“This book makes a most welcome contribution to the study of the materiality by showing how gender is performed in the sensuous terms of clothing, food, and the exchange of objects. Anna-Karina Hermkens accomplishes this with enviable care and intellectual resources, and a prose and ethnography that make the book a pleasure to read.” – David Morgan, Duke University“Anna-Karina Hermkens takes us to look at designs on bark cloth from Papua New Guinea through a magnifying glass. A fascinating perspective on material culture evolves. Beyond the art work we discover individuals – mainly women – painting their stories about who they and their beloved are as women and men, as traditional members of a clan, and also what they head for as strugglers in a new economy driven world.” – Christian Kaufmann, Honorary Research Associate, Sainsbury Reseach Unit, University of East Anglia, Norwich UK, former curator for Oceania at the Museum der Kulturen BaselAbout the author:Anna-Karina Hermkens obtained her PhD in Cultural Anthropology in 2005 from Radboud University Nijmegen. She is currently working as a postdoctoral research fellow at the ‘College of Asia and the Pacific’ of the Australian National University in Canberra Australia.

Throughout its long history, stretching from the 25th Dynasty (c. 752-656 BC) to the Ottoman Period (c. 1500-1811 AD), Qasr Ibrim was one of the most important settlements in Egyptian Nubia. The site has produced an unprecedented wealth of material and due to the – even for Egypt – extraordinary preservation circumstances, includes objects that are made of perishable organic materials, such as wood, leather, and flax.The present volume focuses on one of these groups: footwear that is made from leather and dated to the Ottoman Period. The footwear, recovered during the years that the Egypt Exploration Society worked at the site, is described in detail, including a pictorial record consisting of photographs and drawings (both technical and artist’s impressions). This is the first time that Ottoman footwear from Egypt (and outside of Egypt) has been analyzed in detail. The preliminary analysis focuses on footwear technology, within the framework of the Ancient Egyptian Footwear Project (AEFP; see www.leatherandshoes.nl). A broader interpretation will be combined with the results of the analyses of the finds from the other epochs of Qasr Ibrim’s history, such as the age of Christianity and the Meroitic Period.

In the past, textile production was a key part of all ancient societies. The Ancient Near East stands out in this respect with the overwhelming amount of documentation both in terms of raw materials, line of production, and the distribution of finished products. The thirteen intriguing chapters in Textile Production and Consumption in the Ancient Near East describe the developments and changes from household to standardised, industrialised and centralised productions which take place in the region. They discuss the economic, social and cultural impact of textiles on ancient society through the application of textile tool studies, experimental testing, context studies and epigraphical as well as iconographical sources. Together they demonstrate that the textile industries, production, technology, consumption and innovations are crucial to, and therefore provide an in-depth view of ancient societies during this period. Geographically the contributions cover Anatolia, the Levant, Syria, the Assyrian heartland, Sumer, and Egypt.

The ancient Egyptian city of Tell el-Amarna (or Amarna, ancient Akhetaten) was the short-lived capital built by the controversial Pharaoh Akhenaten, probably the father of the famous Tutankhamun, and abandoned shortly after his death (c. 1336 BCE). It is one of the few Pharaonic cities to have been thoroughly excavated and is a rich source of information about the daily life of the ancient Egyptians. This volume, the first of two, presents the leatherwork excavated at the site by these various expeditions. The book consists of two parts: the catalogue and the preliminary analysis. The former presents the detailed description of the objects (among which chariot leather and footwear), accompanied by colour photographs and, where necessary, line- and construction drawings. The latter includes an explanation of the Amarna Leatherwork Project as well as preliminary interpretations of the finds.

War and Worship concerns textile deposits from the bog sites of Thorsberg in Germany and Nydam, Vimose and Illerup Ådal in Denmark. All four sites are well-known for containing a substantial amount of archaeological materials, particularly weapons, but they also contain, as integral parts of the weapon deposits, a smaller number of preserved textiles, which nevertheless constitute outstanding assemblages. With the exception of Thorsberg, publications dealing particularly with textiles from weapon deposits are almost non-existent. The textiles from each site are analysed, then compared to one another and described as a unit characterising the particular site. Comparisons are then made between the four sites, with emphasis on the overall context. A final chapter by Lise Ræder Knudsen analyses tablet-woven textiles in the deposits, a textile technique used to make bands, edges and borders. Although the state of preservation of the textiles at the different locations varies hugely, the research has extracted a large amount of information allowing conclusions on status, origin, function and role in the deposits to be drawn. The fabrics presented here were, unquestionably, consecrated textiles. They had been worn by the defeated foreign warriors during the battle and were considered worthy as sacrificial offerings to the gods. Some individual high-status textiles were perceived to have a value comparable to certain metal items. Others - probably the majority - were used for covering and wrapping other offerings for the subsequent sacrifice. All were committed to the lakes in a sacred act of remembrance to celebrate victorious battles.

Recent archaeological work has shown that South Italy was densely occupied at least from the Late Bronze Age, with a marked process of the development of proto-urban centres, accompanied by important technological transformations. The archaeological exploration of indigenous South Italy is a relatively recent phenomenon, thanks to the bias towards the study of Greek colonies. Therefore an assessment of processes taking place in Italic Iron Age communities is well overdue. Communicating Identity explores the many and much varied identities of the Italic peoples of the Iron Age, and how specific objects, places and ideas might have been involved in generating, mediating and communicating these identities. The term identity here covers both the personal identities of the individuals as well and the identities of groups on various levels (political, social, gender, ethnic or religious). A wide range of evidence is discussed including funerary iconography, grave offerings, pottery, vase-painting, coins, spindles and distaffs and the excavation of settlements. The methodologies used here have wider implications. The situation in the northern Black Sea region in particular has often been compared to that of southern Italy and several of the contributions compare and contrast the archaeological evidence of the two regions.

The eight papers presented here provide a useful introduction to medieval broadcloth, and an up-to-date synthesis of current research. The word broadcloth is nowadays used as an overall term for the woven textiles mass-produced and exported all over Europe. It was first produced in Flanders as a luxurious cloth from the 11th century and throughout the medieval period. Broadcloth is the English term, Laken in Flemish, Tuch in German, Drap in French, Klæde in the Scandinavian languages and Verka in Finish. As the concept of broadcloth has deriving from the written sources it cannot directly be identified in the archaeological textiles and therefore the topic of medieval broadcloth is very suitable as an interdisciplinary theme. The first chapter (John Munro) presents an introduction to the subject and takes the reader through the manufacturing and economic importance of the medieval broadcloth as a luxury item. Chapter two (Carsten Jahnke) describes trade in the Baltic Sea area, detailing production standards, shipping and prices. Chapters three, four and five (Heini Kirjavainen, Riina Rammo and Jerzy Maik) deal with archaeological textiles excavated in the Baltic, Finland and Poland. Chapters six and seven (Camilla Luise Dahl and Kathrine Vestergård Pedersen) concern the problems of combining the terminology from the written sources with archaeological textiles. The last chapter reports on an ongoing reconstruction project; at the open air museum in Eindhoven, Holland, Anton Reurink has tried to recreate a medieval broadcloth based on written and historical sources. During the last few years he has reconstructed the tool for preparing and spinning wool, and a group of spinners has produced a yarn of the right quality. He subsequently wove approximately 20 metres of cloth and conducted the first experiment with foot-fulling.

Minoan ladies, Scythian warriors, Roman and Sarmatian merchants, prehistoric weavers, gold sheet figures, Vikings, Medieval saints and sinners, Renaissance noblemen, Danish peasants, dressmakers and Hollywood stars appear in the pages of this anthology. This is not necessarily how they dressed in the past, but how the authors of this book think they dressed in the past, and why they think so. No reader of this book will ever look at a reconstructed costume in a museum or at a historical festival, or watch a film with a historic theme again without a heightened awareness of how, why, and from what sources, the costumes were reconstructed. The seventeen contributors come from a variety of disciplines: archaeologists, historians, curators with ethnological and anthropological backgrounds, designers, a weaver, a conservator and a scholar of fashion in cinema, are all specialists interested in ancient or historical dress who wish to share their knowledge and expertise with students, hobby enthusiasts and the general reader. The anthology is also recommended for use in teaching students at design schools.