My Research About Textiles, Art and The Book - Worn, by Sofi Thanhauser

The Return to Textiles in My Artistic Practice

The return to textiles in my artistic practice was not a sudden decision, but a gradual rediscovery of a red thread that has always accompanied me. Already during my training as a men’s tailor, I learned the precision, patience, and craftsmanship inherent in every garment. This experience became an important foundation for my artistic work.

During my studies at the Kunstakademie Düsseldorf and the Städelschule, textile practices disappeared from my daily routine. It was only years later that this space opened up again – sparked by an inspiring encounter with the artist Felicity Brown. Our meeting in Dubai and her work on the dress form at Tashkeel deeply inspired me. Felicity’s approach awakened a multitude of memories and gave me the courage to place the needle on equal footing with the brush, and to reintroduce textile processes into my artistic practice.

Since then, my work has been shaped by intensive research and engagement with fibers, fabrics, and their cultural, material, and social dimensions. Textiles fascinate me as carriers of history, knowledge, and identity. In many cultures, textile practices are closely linked to communal work, the spiritual world, and the transmission of knowledge.

A seminal work for my understanding of the cultural significance of textiles is Sofie Thanhauser’s book Worn. Her detailed account of clothing history explains why we know so little about textile history and production methods today – even though we wear clothing every day. Or rather, we know so little because textiles and their trade were so significant and profitable.

Thanhauser convincingly shows how the introduction of guilds in the 13th century led to the devaluation of textile labor. The loss of women’s economic independence, their reduced visibility in society, and the lack of interest among archaeologists in textile finds and their historical interpretation were the corresponding consequences.

This development also explains why textile art fell out of the canon of fine arts, and why today we assume that knowledge of how to tie a bow or sew a button no longer needs to be passed on to our children.

Women, however, never stopped creating or sharing their knowledge. I find most of my inspiration in indigenous communities and independent individuals, such as the women of Gee’s Bend or Rosie Lee Tomkins.

Imagine sitting at a backstrap loom: a simple weaving device where your body determines the tension of the warp threads. Your movements are directly connected to the material, and even the smallest adjustment affects the fabric. This direct connection between body and material is one of the most fascinating qualities of textiles.

Imagine transforming your dreams into patterns, like the girls learning the Mola technique from their grandmothers. Or wearing a fringe skirt, which for over 20,000 years was a symbol of fertility and life.

If you want to learn more about the history of textile labor, I recommend two important works: Sofie Thanhauser: Wornand Elisabeth Wayland Barber: Women’s Work – The First 20,000 Years. Both books offer valuable insights into the significance of textile culture and inspire a renewed appreciation for textile art.