Pure silk, one of the oldest known natural fibres, is still highly fashionable even after thousands of years. This beautiful and elegant fabric fascinates mankind with its precious radiance, gossamer touch and strength. As long ago as antiquity, the incomparable haptic inspired the powerful in this world to such a degree that they even weighed the fibres in gold. Kings, emperors and the clergy wore splendid silken garments, the wealthy ladies and gentlemen of society did not want to forego silk clothes. The history of city of Krefeld, also referred to as the ‘Τown Like Silk and Velvet’, is closely linked to this magical material.
Key silk pilot results
Explore our collection of curated historical narratives relevant to the silk industry history of Krefeld from the Mingei Online Platform.
Explore our interactive streaming gallery of Silk fabulae presenting historical and social events related to the craft of Silk in Krefeld in a timeline format.
View videos of our 3D reconstruction results and explore our interactive ecclesiastical vestment application.
Digitisation of textiles, fabrics, and paper
How does fabric look like up close? View a video of how this is possible with the use of our overhead micrometer surface scanner solution.
Learn more about historic patterns of the period.
How does a pattern become a final product? Learn about the Jacquard weaving process and the hidden arts involved.
Historical narratives – Explore Silk narratives from the Mingei Online Platform
Explore our historical narratives to learn more about Krefeld and its evolution to a major player in the European textile industry. The historic narratives have been produced by curated historic data provided by the museum of Haus der Seidenkultur and authored in the MIngei Online Platform.
Silk Pilot Context
Krefeld from its origins to 'Town Like Silk and Velvet'
Krefeld textile history
Ecclesiastical fabric weaving in Krefeld
Historical narratives – Explore the story of Hubert Gotzes parament workshop narratives from the Mingei Online Platform
In the ‘Town Like Silk and Velvet’ of Krefeld in Germany, you will find a former weaving workshop that stands proudly as a testimony of the rich silk industry of the Rhine region. The workshop has been transformed into a museum, the Haus der Seidenkultur, run by the Friends Association and operated by a number of dedicated volunteers. Learn more about the history of the Hubert Gotzes parament workshop from our collection of historical narratives. The narrative have been produced by curated historic data provided by the museum of Haus der Seidenkultur and authored in the Mingei Online Platform (MOP).
The story of Hubert Gotzes' company
Hubert Gotzes Workshop
The story of Jacquard Loom
Patterns of ecclesiastical textiles
Interactive Timeline application
Visit the silk Interactive Timeline application to view historical and social events related to the craft of Silk in Krefeld in a timeline format.
A low-cost contactless overhead micrometer surface scanner
Textile production with Jacquard looms – The Hidden arts
Jacquard loom weaving entails the creation of intricate woven patterns. The process of weaving on Jacquard looms involves the following 5 stages: Pattern design, Point-paper design, Puch-card making, loom preparation, and weaving. Learn more below.
The first step of the process regards the art of pattern designing. The pattern designer develops ideas for patterns which are to be incorporated in the woven textiles. To do this he requires considerable graphic and artistic talent. Depending on the technical options available in the weaving workshop, the specifications set out by the studio, the fashion trend and the designated use, he designs geometric or floral shapes, abstract or graphic representations. Sometimes he also provides various colour options. Explore instances of pattern design examples provided by the Haus der Seidenkultur museum archives.
Once the pattern designer completes the artistic design, the point paper designer iconverts it into a technical drawing according to the patterning options provided by the weaving machine. To do this he transfers the design to special paper, the so-called point paper. Each rectangle on the point paper symbolises a crossing of warp and weft threads. Depending on the pattern, colour is used to indicate in the appropriate rectangle which warp threads should be on top at the crossing point (weave). There are many different weaves and the point paper designer has to choose the most appropriate one so that the design in question appears as accurately as possible in the fabric. Explore instances of point-paper designing examples provided by the Haus der Seidenkultur museum archives.
The card puncher transforms the technical drawing made by the point paper designer into a punched card. With his fingers on the keyboard he enters the data into the card punching machine and with his foot he punches the card by activating the pedal. A hole in the card signalises to the Jacquard machine that a warp thread has to be raised. No hole in the card, then the warp thread remains where it is. The space between the lower warp threads and the raised warp threads is referred to as the shed into which the weft thread can be inserted. One card is needed for each weft thread. Once they have been punched, the cards for each pattern are numbered and threaded together and then suspended in the Jacquard machine as an endless card set.
Preparation of the Jackquard looms
Preparation of the Jacquard loom is a complicated and time consuming process that requires specialised skills.