Scarf for a Socialite

With its bold black lines contrasting with the tonal pinks, this scarf would have been a colorful finishing touch to a day ensemble when tied and draped across ones shoulders. The pattern is made not by a printing technique, but by silk satin pieced and hand sewn in the same manner as other pieces of 1920s couture were seamed.
Scarf, textile, Reboux, couture

From the Loom to the Wall

In 1947 the Cooper Union received a sample book featuring the new wallpaper collection designed by Dorothy Liebes for United Wallpapers. The book contains eight different patterns with each shown in multiple colorways. The patterns are all based on the hand-loomed woven fabrics for which Liebes had become known. She introduced color and texture into her fabrics and incorporated unexpected materials such as rawhide, cellophane, bamboo strips and metal threads.
wallpaper, sample book, Dorothy Liebes, loom, embossed, textile, imitation


Wolf Bauer studied textile design under Leo Wollner at the Staatliche Akademie der Bildenden Künste in Stuttgart, and served as his assistant from 1963 to 1965. Both men were prominent textile designers in Europe, creating work for the top firms: Tanus Textildruck, Heal Fabrics, Weverij de Ploeg, and most importantly Pausa AG, a printer known for its technical skill and innovative approach.
Wolf Bauer, textile, Leo Wollner, Knoll Textiles


Color was a central element in all of Verner Panton’s designs for interiors and furniture, and in particular, textiles, which became his most important vehicle for color in the futurist environments for which he is best known. Born in Denmark, Panton lived and worked most of his life in Basel, Switzerland, where by the mid-1950s he was an internationally acclaimed interior architect and designer. He studied at the Technical College from 1944-47 followed by architecture studies at the Royal Academy of Art in Copenhagen from 1947-51.
Vernor Panton, textile

Interplay between 2-D surface and 3-D structure

Grethe Sørensen is an artist and weaver who designs according to architectonic principles. Her interest in photography, cinematography, animation, optics and illusion is expressed in textiles which show a deep understanding of the weaving process, constantly exploring the interplay between two-dimensional surface and three-dimensional structure.
Grethe Sørensen, textile, pattern, illusion, Kvadrat

A Hugo Dreyfuss textile

Hugo Dreyfuss was a textile designer and printer, and the business partner of the furniture designer Vladimir Kagan for ten years, from 1950 to 1960. The two met through the artist Emanuel Romano, the brother of Dreyfuss's wife Beatrice Glicenstein. Kagan's business was a family operation, with his father overseeing the factory, and his mother running the small shop on East 65th Street. Dreyfuss's investment in the company enabled them to move to a larger, more prestigious location at 125 East 57th Street. Kagan-Dreyfuss Inc. expanded their range of products and began producing a catalog.
Hugo Dreyfuss, textile, Vladimir Kagan

The Scent of Vinegar

While the primary goal of a conservator continues to be the documentation and preservation or retardation of deterioration, conservation practices and materials have evolved over the years. For example, cellulose acetate was used to store museum collections in the 1940s and 1950s.
conservation, collections storage, textile, cellulose acetate

Protecting Your Back

Ainu culture in Japan has some of the oldest continuing creative traditions in the world dating at least twelve thousand years ago.1  Textiles, and clothing design specifically, have been an important indicator of the Ainu’s ethnic identity and also their most stunning art form exemplified by this nineteenth-century attush (woven elm-bark) robe. 
robe, Ainu, textile, clothing

Reiko Sudo on Origami Textiles

Reiko Sudo, co-founder of Nuno textile company, discusses the development and fabrication of the origami scarf. 
Reiko Sudo, Nuno, origami, textile

Preserving the Perfect Fit

Anyone who has scuffed their brand new sneakers can attest to the difficulty of keeping shoes in good condition. One of the best ways that Cooper Hewitt’s conservation department can ensure the preservation of the collection is through proper storage. Take for instance the recently acquired pair of Nike FlyKnit Racer shoes.  While the sneakers are new, it is our responsibility to create storage that will support and protect in order to best slow deterioration and preserve their current state.
nike, Flyknit Racer, running shoe, knitting, conservation, storage, textile