- Object description: Hair clips

- Inventory number: TO252a-c

- In the collection since: before 2000

- Dating: 1928-1932

The collection items from the Textile Objects sub-collection have been stored in flat, beige-brown boxes for many years. This storage option has proven to be practical. The narrow boxes can be easily stacked on top of each other on the shelves in the collection rooms, clearly organised and easy to handle in a research and teaching context. The inventory numbers are clearly visible - on the outside of the box, but also in the form of cardboard labels with safety pins directly on the objects.

Anyone who has been visiting the collection for about a year will quickly notice that the shelves are now only half full of the original boxes. Some of them have been replaced by sturdier, grey cardboard boxes. The new boxes differ not only in terms of their colour: unlike the boxes used previously, they are made of acid-free cardboard, which does not produce any potentially harmful vapours for the objects inside. The objects were wrapped in packing silk for protection. In addition, the inventory numbers are now attached to sections of textile tape instead of cardboard labels and are no longer attached to the objects with safety pins but with white polyester thread.

These changes are currently being made by collection staff as part of a so-called reburial programme. The main reason for this is conservation measures to protect the objects. While the old boxes appear harmless from the outside, things may look very different on the inside. This is shown by the sad example of the plastic hair clips. They date back to around 1930, originate from the collection and were inventoried in 2000 and stored in accordance with the procedure followed at the time. In May 2021, Veronika Dawydow, a member of the collection staff, discovered that the plastic had suffered considerable damage due to the storage conditions. In this case, the safety pins with the inventory numbers had been stuck directly to the clasps with transparent adhesive tape. As can be seen from the images in the damage report, this had led to severe corrosion in some cases. A blue-green patina, possibly verdigris (copper(II) acetate), was visible under the adhesive tape. The TO252b clasp was broken into several individual pieces; further micro-fractures were also visible within the individual pieces. The packing silk was heavily yellowed at the contact points. [1]

Based on their dating, it can be assumed that the hair clips were made of Bakelite. Developed in 1905 by chemist Leo Hendrik Baekeland, this material was the first plastic from which a wide range of objects were produced until the 1960s: From light switches to hairdryers and telephones to jewellery. [2] Although the material is characterised by its extreme durability, it was obviously not resistant to damage caused by metal corrosion, which in turn was caused by reactions between the safety pins and the adhesive tape.

In order to prevent future storage-related damage, the old boxes and the inventory numbers attached with safety pins are now being replaced as described. A look at this part of the collection's history shows that conservation concepts also change over time. Storage conditions are constantly scrutinised, updated and adapted to new findings. Whether a definitive status has been achieved in the collection seems doubtful - constant observation, self-criticism and reflection on one's own approach, on the other hand, are all the more important.

- Klara von Lindern

Sources:

[1] Veronika Dawydow: Damage report for objects in the collection of the Institute of Material Culture at the University of Oldenburg, 25 May 2021 https://uol.de/f/3/inst/materiellekultur/Die_Sammlung/Dings_Da_/2023/TO252a-c/Schadensprotokoll_TO252_0.pdf?v=1689767614 and http://wisski-stak01.virt.uni-oldenburg.de/wisski/navigate/1327/view (last accessed: 15 May 2023)

[2] For the history of Bakelite, see the website of the Bakelite Museum in Kierspe: https://www.kierspe.de/de/verein/heimatverein/bakelitmuseum/bakelitmuseum.php (last accessed: 15/05/2023)

- Object description: Gudrun Sjödén catalogue 'Fascination Scandinavia'

- Date: Autumn 2015

The 'Fascination of Scandinavia' has been booming for years. This can be seen, for example, in tourism: Iceland, the North Cape and the Lofoten Islands are becoming increasingly popular holiday destinations. Many online shops - for example in the furniture sector - offer the categories "Scandinavian Style" or "Scandinavian" as a search and filter option. This (mostly undefined) buzzword is used to give objects predicates such as 'modern, 'high quality' or 'stylish' [1]. This fascination has also had an impact on the fashion sector in the Nordic countries [2]. Pieces from the Swedish label Acne Studios, for example, which was founded in 1996, now have international cult status [3]. Copenhagen has had its own fashion week since 2006, which is attracting increasing international attention. Since 2021, Vogue Scandinavia has been the 27th country edition of the fashion magazine Vogue , published by Condé Nast [4]. Bloggers from the Nordic countries - for example Pernille Teisbæk or Kenza Zouiten Subosic - have millions of international followers who are inspired by posts, videos or guides such as Teisbæk's book Dress Scandinavian, which is also on display here.

A common idea of this so-called Scandinavian style can be described with the keywords 'simple', 'timeless', 'elegant', whereby clear cuts and muted colours (shades of grey, cream or dark blue as well as black and white), described by Teisbæk as a "Scandi Colour Palette" [5], dominate. The exact contrast is presented in the autumn 2015 catalogue of the Swedish clothing company Gudrun Sjödén entitled Inspiration Scandinavia. The catalogue in the holdings of the STAK's partial collection Schriftenarchiv complements the collection's focus on catalogues of sustainably and/or ecologically produced fashion. Founded by the designer of the same name in 1974, the label stands for colourful, richly patterned pieces with playful cuts that are aimed at women* of all sizes and ages. Sjödén draws her inspiration from her "place as a human being in nature" [6]. For this catalogue, the landscape of the countries subsumed under the title 'Scandinavia' - Sweden, Finland, Norway, Denmark and Iceland - is the stage for the models photographed on location. The garments presented in the individual country chapters differ from one another in terms of their patterns and colour palette, as they were each inspired by 'typical' elements of the region. The sources of inspiration are presented in short texts - for example, shimmering sunlight on Finnish lakes or frozen glaciers in the twilight of wintry Iceland. In the case of the Norwegian collection in particular, traditional handicraft techniques and folkloric costumes are invoked, forming a historically traditional antithesis to the minimalist 'Scandi style' of the 2010s and 2020s. Hand-woven rag rugs, knitted jumpers or hats, gloves and socks made of thick sheep's wool - often labelled with the term 'Norwegian pattern' - have represented a Nordic style for much longer. Interestingly, they have also (re)entered popular culture, as can be seen in the costumes and textile objects in Disney's hit films Frozen and Frozen II.

Two different versions of a 'Nordic style' are juxtaposed here - or rather side by side. For perhaps it is precisely this coexistence, which is quite naturally accepted in the Nordic countries, that never becomes boring in its mixture of colourful, patterned, monochrome and minimalist, traditional and new elements, and draws its topicality from this without abandoning its historical roots.

- Klara von Lindern

Sources:

[1] Since the 1950s at the latest, Danish and Finnish furniture in particular has been regarded as 'design classics' (Arne Jacobsen, Poul Henningsen and Alvar Aalto are just a few examples), to which exhibitions are dedicated time and again and which are constantly being reissued.

[2] At a geographical level, the term 'Scandinavia' only covers Norway, Sweden and parts of Finland. In this respect, the term 'Nordic countries' is more precise, as it includes Norway, Sweden, Denmark, Finland, Iceland and also Greenland, the Faroe Islands and Åland: https://www.nordischebotschaften.org/die-nordischen-laender (last accessed: 05/05/2023).

[3] https://www.elle.de/designer/acne-studios (last accessed: 05/05/2023). The leather jackets, jeans, scarves and beanies with the characteristic smiley patch are considered particularly iconic.

[4] https://www.voguescandinavia.com/store/magazine (last accessed: 05/05/2023). Vogue Scandinavia sees itself as a representative of Sweden, Denmark, Norway, Finland and Iceland and is published primarily as a digital magazine as part of the sustainability strategy; the printed editions are available separately as collector's editions.

[5] Pernille Teisbæk: Dress Scandinavian. Style your Life and Wardrobe the Danish Way, New York 2017, pp. 60-61.

[6] https://gsw.gudrunsjoden.com/de/gudruns-world/gudruns-inspiration (last accessed: 05/05/2023).

- Object description: Mini skirt

- Inventory number: KG315

- In the collection since: 18/05/1999

- Date: 1974

The miniskirt, as we know it in everyday fashion, first became popular in the 1960s. Since then, it has developed into a fashion classic and has become an integral part of the westernised fashion world. For many women, it symbolised freedom, self-confidence and independence [1].

The recently deceased designer Mary Quant is often referred to as the 'inventor' of the miniskirt. However, precursors or pieces comparable in form can be found not only outside the 'western' fashion world, but also in the area of stage costumes, for example. For example, in the performance "I am as I am - Women for Golden Hill" [2].
Mary Quant designed skirts that ended just a few centimetres above the knee and therefore showed a lot of leg. They were a sensation at the time and caused a real revolution in the fashion world.

The 1960s were an eventful decade and are still regarded as a time of upheaval and protests today. On a vestimentary level, the miniskirt can be seen as an expression of this desired change and as a sign that women wanted to show their bodies and their sexuality in a self-determined way [3].

From then on, it was not only seen as an integral part of everyday Western fashion, but also as a symbol of the feminist movement. Women no longer wanted to be dictated to by male ideas and social norms about what they should wear. The miniskirt was a statement against the double standards of society at the time.

Feminist movements were also present in society in the 1970s. Women's movements were still addressing persistent problems of education, partnership and sexuality [4].
This suede mini skirt also dates from this period. It was purchased in size 38 from C&A in West Berlin by the donor in 1974 and worn until 1993. The donor herself owned the skirt until she became a member of the STAK in 1999. We do not know exactly how the skirt changed hands. What is certain is that it was worn a lot. The clear signs of wear bear witness to this. The relatively firm and stiff leather is slightly scuffed. There are cracks in the material at the lower press stud and we can see clear deformations in the waistband.

The long period of time over which the suede mini skirt was worn by different people is further evidence of the firm place that this type of clothing has managed to secure despite changing fashions. In high fashion, too, mini skirts have been reinterpreted by various designers for decades and shown in collections, for example by Stella McCartney, Isabel Marant and Saint Laurent [5] . It was not until 2022 that Miu Miu's mini skirt was shown on the catwalks in an ultra-short, low-waist version as a reference to Y2k fashion.

Today, the mini skirt is no longer just a symbol of emancipation and freedom, but also an item of clothing that can radiate self-confidence and femininity [3]. Women wear them to emphasise their legs and show off their figure. At the same time, it polarises as an often criticised item of clothing that can be read as an expression of sexism and an objectification of the wearer.

- Elisa Geisler

Sources:

[1] WDR, 2014. 29 August 1964 - The miniskirt conquers Germany. [Online] https://www1.wdr.de/stichtag/stichtag8550.html [Accessed on 25 April 2023].

[2] Kirsten Heiberg - Ich bin wie ich bin - Frauen für Golden Hill 1938. [Online]
Kirsten Heiberg - Ich bin wie ich bin - Frauen für Golden Hill 1938 - YouTube [Accessed 25 April 2023].

[3] Jebens, C. O., 2023. on the death of Mary Quandt - What the miniskirt meant. [Online] https://www.faz.net/aktuell/stil/mode-design/zum-tod-von-mary-quant-was-der-minirock-bedeutete-18821207.html [Accessed 25 April 2023].

[4] Farin, K., 2010. New social movements. [Online]
https://www.bpb.de/themen/zeit-kulturgeschichte/jugendkulturen-in-deutschland/36197/neue-soziale-bewegungen/ [Accessed 11 May 2023].

[5] Besser, R., 2022. From Mini to Micro, Skirts Are Getting Short-Short. [Online] https://www.vogue.com/slideshow/mini-skirts [Accessed 26 April 2023].

- Object description: Shirt

- Inventory number: KG1732

- In the collection since: 26/06/2018

- Dating: 2011/2012

In view of the short lifespan of clothing today, this object proves to have a long life. As a result of the relocation of clothing production to low-cost manufacturing countries, we as consumers are able to acquire catwalk trends quickly and at a favourable purchase price. The rapid changes in trends and cheap products in turn lead to overconsumption of clothing, which has an enormous impact on people and nature.

Despite being aware of the consequences, German citizens purchase an average of 60 new items of clothing per year, while at the same time discarding an average of 16 items of clothing per year and disposing of the majority in used clothing collections.[1] However, the well-intentioned intention of consumers to pass on old clothing to third parties is turning out to be a challenge for used clothing sorting companies. This is because the increasingly poor quality of the sorted goods means that they are often no longer usable and have to be disposed of directly as waste by the companies.

In contrast to the use and consumption of clothing is this object and its biography. The short-sleeved shirt in a checked pattern with eye-catching lettering comes from the "Heritage Collection", as the donor's family humorously calls it. She and her family use this term to describe items of clothing that are passed down within the family. The shirt originally came from her father's wardrobe. It was acquired around 2011/12. After a few years, the garment was passed on to the donor's spouse. The reason for this was that her father no longer favoured the shirt, which also had a poor fit due to weight gain. The donor describes it as a common practice to pass on clothes within the family. Usually from her parents to her and her husband, rarely the other way round.

By acquiring clothes in this way and thus extending their lifespan, the donor's family demonstrates that new clothes do not have to be bought new, but can also fulfil their purpose second-hand. Every year, 80 billion items of clothing are produced worldwide, while 1.1 million items of clothing are thrown away in Germany alone.[2]

In addition to the sustainability aspect, another characteristic of clothing can be seen in the object: Clothing and fashion fulfil a role as a symbolic and cultural carrier of meaning. On the one hand, textile objects always communicate the personal identity and affiliation of the owner and, on the other hand, they can also represent the emotional relationship to another person.[3] This is the case with the chequered shirt. The donor describes it as "typical" of her father. Above all, it is emotionally charged by its association with a special day in the donor's life. At a family celebration on Whit Monday 2014 to mark the donor's wedding and her father's 60th birthday, he took the opportunity to wear the shirt.

"It is not the objects as such that create this bond, but the story through which object and subject are connected."[4]

Photos taken that day and kept in a photo album ever since are a constant reminder to the donor and her husband of the bond between the (garment/object) and their father. However, this connection triggered a feeling of alienation in two respects: the donor found the shirt inappropriate on her husband, and her husband also felt uncomfortable in his father-in-law's shirt.

The donor emphasises that in her household, clothes are rarely discarded early and are normally used until they are worn out. The item is therefore a special case of the "Heritage Collection" and thus found its way into the STAK at an early stage. In this place, the shirt can now serve as a representative object of the theme of sustainability through inheritance and as a symbol of remembrance.

- Stella Schnakenberg

Sources:

- Object description: Sweater

- Inventory number: KG2019

- In the collection since: 14.09.2022

- Date: Summer/spring 2020

Shopping for children's clothes is a joyful endeavour. Parents buy clothes for their children that they or the children themselves like. Their own taste, the functionality or even the handling of the item in terms of washing and care decide whether or not to buy the garment. But what happens when the purchase decision becomes a hotly debated topic? Because gender-binary connotations in children's clothing are commonplace in our everyday lives.

The donor of this light blue children's jumper with embroidered daisies bought it for her then one-year-old son in the summer/spring of 2020. Her son jumped at the jumper in the drugstore and wanted to have it. Because of the embroidered daisies, the jumper was, as the donor suspects, in the "girls' clothing" section. During this time, she mainly bought clothes from the "girls' department" because they didn't look so dark and dreary and the donor preferred to dress her son in colourful clothes. The blue jumper with the appliquéd daisies became one of the child's favourite items of clothing.

After a day at kindergarten, the son said that he was laughed at by other children. The son's grandparents noticed this and spoke to their daughter (the donor) about their grandchild's clothes. In their eyes, the jumper obviously had a feminine connotation and was therefore presumably the reason why the grandson was ridiculed at nursery school. The thoughtless purchase thus became a consciously made fundamental question about gendered children's clothing. Over time, friends and other parents also approached the donor about her son's "girly" clothes.

According to the gender-stereotypical understanding of colour, the colour of the jumper corresponds to an object with male connotations. However, the appliqués in the form of flowers override this categorisation and transform the jumper into an item of clothing that could be attributed to the female gender.

Such an attribution through appliqués is also confirmed by a random sample of the Süddeutsche Zeitung, which observed ten times more decorative bows on girls' shirts than on boys' shirts. The situation is similar with sequins, borders or designs such as animal prints: butterflies or unicorns can be found in the girls' section, dinosaurs or tigers in the boys' section. On the other hand, you will look in vain for the respective animals on the garments. The Süddeutsche Zeitung analysed 20,000 items of children's clothing.

The company C&A now offers gender-neutral children's clothing in a separate category. The clothing is simple, without any form of decoration and the collections mainly contain basics such as hoodies, longsleeves and T-shirts in plain or two-colour designs. What is exciting here, however, is that the colours used in the clothing tend to have a masculine connotation. The colour pink, for example, does not appear at all, whereas mint green does. The Süddeutsche Zeitung picks up on this again with its investigation. There is not only a gender order, but also a hierarchy. Girls are more likely to wear boys' clothes than boys' clothes, as the risk of bullying is higher.

To resolve the donor's experience: The son was ultimately not laughed at because of his supposed girl's jumper. The people in his circle of friends and family had mistakenly associated this with each other and thus raised the discussion about this topic. The light blue jumper with the daisies gave the buyer/donor a new perspective on children's clothing, which had previously played no role for her.

The discussion about gendered and gender-neutral children's clothing is more topical than ever before. Ultimately, it should just be fabric and colour, which everyone must and may like.

- Annika Lotta Helmers

Source: https: //www.sueddeutsche.de/projekte/artikel/gesellschaft/gegenderte-kindermode-rosa-hotpants-blaue-shorts-e701993/

Object of the month June 2022

Shoulder pads are a fad that has disappeared and then reappeared several times. Their last resurgence was between 2000 and 2010, when fashion designers and stars such as Lady Gaga and Rihanna made shoulder pads part of their look again, giving them renewed popularity.

It is not uncommon for a style or design element to be in and out of fashion several times over a longer period of time. What is interesting, however, is what many people, especially women, wanted to express by wearing shoulder pads. Broad shoulders are actually a masculine feature. Nevertheless, suits designed for men also have padding that reinforces this characteristic. Even today, management levels are still dominated by men in suits and shirts. The imitation of these shoulder pads in female suits is a response to this. In short: broad shoulders are an expression of strength and shoulder pads have enabled many women to show that they have exactly that, even if they have often been denied it.

One example of this is Margaret Thatcher. She was the British Prime Minister from 1979 to 1990 and is still the only woman to have held this office. Her nickname "Iron lady" gives you an idea of her reputation. Margaret Thatcher is undoubtedly a prime example of a strong woman in politics. The former Prime Minister emphasised her strength with her fashionable appearance and shoulder pads.

Other places and examples also show that wearing shoulder pads can, but does not have to, be a statement. The donor of this object merely stated that the shoulder pads made her feel well-groomed. People have different expectations of fashion. While one person deliberately wears something to embody a political stance, another wears the same style simply because it appeals to them visually and a third person might choose a certain look for both reasons.

All in all, it can be said that women are strong even without broad shoulders. Adopting such previously exclusive elements is not easy. It takes courage and strength, but in the end it's worth it to make a statement.

- Jelko Wronski

Sources:

Text:

https://coveteur.com/2019/04/04/empowering-history-shoulder-pads-trend/

https://www.oxfordstudent.com/2012/01/21/style-icon-margaret-thatcher/

https://www.independent.co.uk/life-style/fashion/features/shoulder-pads-a-history-1802139.html

https://de.wikipedia.org/wiki/Margaret_Thatcher

http://wisski-stak01.virt.uni-oldenburg.de/wisski/navigate/122/view

https://wikigerman.edu.vn/wiki24/2021/01/04/schulterpolster-mode-wikipedia/#2000er_und_2010er_Jahreedit

Image: https://www.vogue.co.uk/gallery/margaret-thatcher-style-file

Object of the month May 2022

• Object description: Commes des Garcons costume
• Inventory number: KG2010
• In the collection since: July 2015
• Date: 1996

This ensemble consisting of a blazer and skirt comes from the Japanese designer brand Commes des Garcons. This brand is characterised in particular by the fact that the designers dissolve the conventional cuts of clothing and create new proportions on the wearer's body through deconstruction.

Designer Rei Kawakobu, who created this piece and brought it to boutiques in 1996, is no exception. She founded the label in Tokyo in 1969, with the name of the brand (translated as "like boys") already criticising the conventions and even stronger social norms and constraints regarding gender roles in clothing choices at the time.

The Japanese woman is still the head designer and owner of the company today, but there are also several other designers working for the brand alongside her. These include designer Junya Watanabe, who has been designing the designer brand's men's line since 1978. Watanabe has even been given his own side line, in which his name appears next to the CdG lettering on the labels. Over the years, he has worked with many well-known companies under his name, such as Levis, Vivienne Westwood and Fred Perry.

The costume from the IMK collection comes from the possession of the artist Silke Radhausen, who acquired it on the occasion of an exhibition of her works. According to Radenhausen, this costume would represent her well as an artist and could be worn in a variety of ways. She was also inspired by the costume, which breaks with convention by having a kind of hump on the back, but at the same time looks like an upscale occasion. A tube-like connection of the sleeves across the back of the blazer creates this unusual proportion. Another special feature is the blazer's fastening, a large safety pin. Its oversized look is quirky and also makes a reference to the punk scene, as is often the case with the brand's garments. The associated collection, which appeared in autumn/winter 1996, is characterised by these same hunchbacked proportions. The safety pin can also be found in many places.

- Jelko Wronski

Source: Images - IMK

Object of the month April 2022

• Object name: Kleppermantel
• Inventory number: KG1061 + KG1976
• In the collection since: 05.09.2013 / 17.08.2021
• Dating: 1950-1959

The inventor and namesake of the coat is Johann Klepper. Even at a young age, he was interested in functional fashion and expanded his parents' tailoring business to include a sports department.

In 1907, he began manufacturing rubber boats in the attic of his house, but quickly moved on to the production of rubberised clothing. Klepper developed a cotton fabric impregnated with rubber for this purpose in 1926.

The company quickly outgrew its attic and, in addition to the private sector, also supplied the Wehrmacht and the Reichsbahn. His son took over the company in 1929, at which time it was already producing up to 90 boats and 1,000 mackintoshes a day.

In 1973, the company split into Klepper Bootsbau KG and Klepper Bekleidungsfabrik KG. During the same period, the rubberised coat went out of fashion and disappeared from the streets of Germany. The last Klepper coat was produced in 1988. Nowadays, the coats can only be found on Ebay or similar portals. Often for a price that shows the appreciation of the last Klepper enthusiasts.

Such enthusiasm was also evident in the chemist at our Institute. The coats, especially the better preserved ones, are his "favourite objects" from the collections. They provide a good introduction to the field of clothing physiology. In addition to his enthusiasm for the material, the cultural history of the coat is also impressive. Especially when you consider the consumer behaviour of the wearer and the disappearance of the coat from the fashion world.

Klepper coats laid the foundation for today's mackintosh culture. It was one of the first items of clothing to effectively protect people from rain and wet conditions. Nowadays, rain jackets come in all shapes and colours. They have a wide variety of functions and are far more sophisticated than the Klepper coat.

Current developments show that (outdoor) brands such as Arc'teryx have become a trend in the fashion scene. Original hiking and outdoor clothing is worn in leisure time. A good example of the integration of functional clothing into the fashion world are the brand's two most recent co-operations. On the one hand, there was a collaboration between Arc'teryx and the leisure/skateboard brand Palace in 2020. Secondly, Arc'teryx created a very small collection together with the designer brand Jil Sander in 2021.

Although in many places in the fashion world it may seem, especially to the less interested, that the focus is more on looks, such examples show that functionality can also play an important role.

- Jelko Wronski

Object of the month March 2022

• Object name: Sneaker
• Inventory number: KG1011
• In the collection since: 25/05/2003
• Date: 1993-1999

This sneaker is a sports shoe with a sole designed for indoor floors in the typical beige colour. The rest of the shoe is white/blue with red details. The side of the sneaker also features the three stripes of the Adidas brand. The style of the shoe fits in with current trends in sneaker fashion, which takes up the shapes of older sports shoe models and is characterised by a certain bullishness and neon, nude and natural tones in addition to white.

Young adults in particular are enthusiastic about the sporty look and the "retro aesthetic". In discussions with colleagues at the IMK, a clear difference in the perception of the model became apparent depending on the age of the interviewees. The older colleagues found the shoe visually unappealing and in all cases, using it in everyday life was unthinkable for them. The donor of the shoes also only wore them for sports and work purposes, not for leisure. The younger colleagues, on the other hand, could imagine wearing this or at least a similar shoe in their leisure time. They were less put off by the functional design of the sole in particular; rather, the comfort this presumably provides was seen as a plus point of the model. This aspect clearly took a back seat to the evaluation of the model's aesthetics among the older colleagues.

Nowadays, many companies fall back on popular "vintage models" and "looks". These are often heavily inspired by older models. An alternative to buying new is offered by platforms such as Ebay (classifieds) or Vinted, where you can often buy well-preserved pieces for a fraction of the new price. Second-hand fashion is becoming more attractive for many people, regardless of age, as the focus is increasingly on sustainability and can therefore provide a personalised alternative to fast fashion. In addition, second-hand items offer a wide repertoire of styles and shapes that consumers outside the mainstream can also find themselves in.

- Jelko Wronski

Sources:

Surveys with IMK employees
Study: https://momox.biz/presse/28-pressemeldungen/2020/1053-studie-zeigt-klare-motivation-fuer-kauf-von-second-hand-kleidung-bleibt-nachhaltigkeit
Image (1): www.zalando.cz/adidas-originals-continental-80-unisex-tenisky-white-ad115o16x-a11.html
Image (2): Photo of the object from the IMK

Object of the month January 2022

• Object description: Sports bag
• Inventory number: KG1065
• In the collection since: 12.11.2003
• Date: 1983-1987

The Adidas brand bag can be hung over the shoulder. It has a blue strap for this purpose, which can be adjusted as required and thus adapted to the user's height. The top of the rectangular bag is also blue, while all the other sides and the inside of the bag have black as their base colour. An Adidas logo has been printed on the front of the bag, which is slightly angled. There is also white Adidas lettering on the left-hand side of the bag. The front lettering is also larger and is arranged in a circular design. There is also a grid on the right-hand side of the shoulder bag in which the owner's name and address can be entered.
The edges of the bag have been reinforced with a rubberised wire. There are also studs on the underside to minimise wear and tear. The zip at the top of the bag is used to open the main pocket. There is also a small zip pocket on the back.
The bag was purchased from 1984-1987 at Karstadt in Berlin for approx. 15 DM. You can see its age.
The inner lining of both compartments is torn in several places and is coming loose. Originally, the messenger bag was waterproof, but this coating has become increasingly loose as the object has aged. Leaving the inside and functionality aside, the purely visual condition of the bag is acceptable apart from minor soiling and the partially damaged print. This version has more of a sporty character due to the fabrics used and the printed labels. However, it was used by its owner for travelling and later in everyday life. This shows that it could be used in many areas
. The only disadvantage of such a lightweight bag is particularly evident in this model, as the less robust material succumbs to the influences of its environment after a longer period of time. Nevertheless, it is still definitely worth a look!
This type of bag is a classic. They have always been popular. The two examples above emphasise that although the superficial design has changed, the basic nature of the bags has not. In conversation, the donor of this bag referred to its practical size, which made it suitable for everyday use.
This observation is still relevant today. Nowadays, messenger bags are still often found in the fashion world. Whether in youth culture, designer fashion or simply in the office, their function makes these bags a timeless, frequently used and much-loved object. There is a reason why the shape has remained. Such bags accompany us humans and we trust them. We trust that they are robust, that our things are safe in them and that they offer us enough storage space in everyday life. So in a way, the wear and tear of the bag is just an expression of the owner's trust.

- Jelko Wronski

Sources:

(1) wisski-stak01.virt.uni-oldenburg.de/wisski/navigate/69/view (text)
(2) Quelle Katalog Frühjahr 1986/87 (image) Bestand Subsammlung Schriften STAK
(3) www.adidas.de/adicolor-archive-messenger-bag-s/HD7187.html (image)

Object of the month March 2022

• Object description: Steel helmet
• Inventory number: KG1485
• In the collection since: 08.10.2007
• Date: 1971

This helmet was worn by the soldiers of the National People's Army, the military organisation of the GDR. It was introduced for the regular armed forces in 1956 and has its roots in a prototype developed by the Wehrmacht at the end of the Second World War. The helmet was primarily known as the 604 or M56 steel helmet. The previous prototype was called Model B I. It stood out in Wehrmacht firing tests in 1943/1944 due to its good results, but could no longer be mass-produced and distributed to German soldiers due to the end of the war. Nevertheless, it was patented in 1943 and several hundred examples were distributed to soldiers for testing.
The further developed Model 56 was then manufactured from 1957 in the steelworks in Lauter, which had already been established for the production of steel helmets.
Until the dissolution of the GDR, the helmet remained unchanged in its external form and was used in many of the eastern institutions.
It is not entirely clear where exactly this helmet came from. It is only known that it was donated by a music student and added to the collection a short time later.
Punchings on the inside also reveal that the helmet is the smallest version (size Roman 1 of 3) and was produced in 1971.
It is also clear that the steel helmet was painted with symbols that speak against National Socialism. For example, a simplified motif of a swastika being thrown into a rubbish bin has been drawn twice. The context in which this helmet was painted is unfortunately not known.

- Jelko Wronski

Sources:

above: de.wikipedia.org/wiki/Nationale_Volksarmee

below: URL is no longer available

Object of the month November 2021

• Object description: Football shirt
• Inventory number: KG465
• In the collection since: 09/02/2000
• Dating: 1996/1997

The football shirt on display here is the long-sleeved version of an away jersey from the Borussia Dortmund club from the 1996/1997 season. Shirts of this type are referred to as "authentic replica". This means that although the jersey is original and produced by Nike, it does not fully correspond to the original worn by the players. There are differences in quality and details, such as a missing "Bundesliga" patch.

The jersey is made of 100% polyester, black is the basic colour and the sides, sleeves including cuffs and the collar have neon yellow stripes. The shirt's shark collar, typical of the time, is striking. Several embroidered, sewn-on and ironed-on elements can be found on the chest area, including the logo of the main sponsor at the time, Continental Versicherungen, a Nike logo and the BVB crest. The back of the jersey was also flocked with the name "Ricken", meaning the then BVB star player Lars Ricken.

In 2000, the harmful substance tributyltin was detected on these jerseys, among other things, which initially led to a great deal of media attention and uncertainty among some wearers. However, after more precise data became known and further investigations were carried out, the Federal Institute for Consumer Health Protection was able to quickly issue a warning. The amount of the pollutant was below the limit set by the WHO and therefore not harmful to health.

- Jelko Wronski

Source:

www.kelocks-autogramme.de/Fussball-National/Borus-sia-Dortmund-oxid/Borussia-Dortmund-Autogrammkarten/Michael-Henke-1996-1997-Borussia-Dortmund-Fussball-Autogrammkarte-original-signiert-oxid.html

Object of the month October 2021

• Object description: Adidas Superstar
• Inventory number: KG936
• In the collection since: 01.11.2002
• Date: January 2000

The side parts of the shoe and the tongue are made of imitation suede. The inside is padded with a pile fabric. Characteristic of the "Superstar" are the front flap and the three stripes on the side of the shoe, which, like the sole of this model, are made of rubber. The sneakers in question were produced in China in January 2000. However, the "Superstar" first appeared on the market in 1970. From there, the trainers made their way into the hearts and minds of sneaker enthusiasts, particularly via the hip-hop scene. They quickly achieved a high level of popularity as they were characterised by their timeless design and high level of comfort. The original sports shoe became a model that was also worn in leisure time and the "Superstar" soon became the company's most successful model. Today, the footwear is one of the classics and is still available on the market in a similar form. Anyone who wears a Superstar wears a piece of history on their foot.

- Jelko Wronski

Object of the month September 2021

• Object name: Pumps
• Inventory number: KG1085
• In the collection since: 07/04/2004
• Date: 1986

"Rucke di guck, rucke di guck, blood is in the shoe:
the shoe is too small, the right bride is still sitting at home."[1]

This warning from the doves in the fairy tale Cinderella is probably one of the most famous quotes in world history when it comes to clothes that are too small or do not fit. It symbolises the cliché that women in particular regularly squeeze themselves into clothes that are too tight in order to prove something to themselves or their social environment. The object of the month for September shows that such clichés can also contain a grain of truth. Shoes made of glass or gold, as in the original version by the Brothers Grimm[2]are not in the collection, but these black pumps are. The donor bought them 35 years ago to wear to her father's 50th birthday party, and later they were also used for other festive occasions such as New Year's Eve celebrations. The reason for the purchase was that the pumps went perfectly with festive clothing. They were combined with either a black and yellow ensemble from Mondi or a black cocktail dress made of panne velvet. From the outside, the donor looked very happy, but in reality she found the shoes very uncomfortable and painful to wear because of their poor fit. Nevertheless, she kept putting them on, clearly recognisable by the signs of wear. The shoes were very important to the donor, as evidenced by the original box, which is still in existence and has been added to the collection.

- Katja Kuhlmann

Sources:

Object of the month August 2021

• Object designation: Life jackets
• Inventory number: TO778a-c
• In the collection since: 29.01.2003
• Dating: 1966 - 1970

August promises beautiful summer weather and days at the swimming lake or leisure pool. The popularity of other water activities, from canoeing to boat trips, is unbroken. At the same time, the number of non-swimmers in Germany has been rising for years. To draw attention to this problem, a life jacket from the collection was selected as the object of the month for August. These yellow and orange waistcoats were used between 1966 and 1970 and are categorised as swimming aids from a water rescue perspective. Water rescuers differentiate between buoyancy aids and life jackets in various strengths.[1] The most important difference: life jackets are powerless and also keep people afloat who are no longer able to do so themselves. Life jackets turn the wearer onto their back to keep their head above water and clear their airways. Life jackets, on the other hand, only help people to help themselves and reduce the effort required to swim. People in grade need must therefore still be able to move themselves. In the leisure sector in particular, e.g. canoeing, participants are only provided with life jackets and the ability to swim is a prerequisite. For providers of these activities, life jackets are not only cheaper, but also easier to use as they often require no maintenance. Buoyancy aids are made of solid, buoyant and non-absorbent material such as polystyrene (a plastic) or cork. Life jackets, on the other hand, are made of different materials and have different functions to inflate, and their functionality requires regular inspection. The waistcoats shown here are made of plastic and slip into the wearer's face when worn, which is why they were more dangerous than helpful. This and the rusted buckles show that the materials used for functional textiles in the water sports sector have undergone massive development to ensure the safety of users. There are now various providers and guides to help you find the right lifejacket for you[2]but they are no substitute for good swimming training.

Object of the month May 2021

• Object description: Fabric panels
• Inventory number: TO873a-c
• In the collection since: 18.08.2003
• Dated: 2003

The Institute of Material Culture offers students the opportunity to try out many projects and gain their first research experience. These activities are reflected in the collection in the form of objects. In May 2003, the exhibition "Confirmation: A celebration and its clothing" took place in the Oldenburg City Museum, which dealt with the changes in confirmation clothing over the last 200 years and arose from an Institute project led by Dr Kurt Dröge. A wide variety of textiles were used in the museum presentation, including these fabric panels. They served to introduce visitors to the exhibition. The canvas-like cotton fabric was printed in black in the centre and bevelled at the top by hand with needles and stitches so that a wooden pole could be pushed through it. The exhibition shows that the demand for festive fashion in the context of confirmation has some continuities, despite the influence of contemporary fashion trends.[1] The colours black and white still characterise the choice of dresses today. Girls initially wore white dresses and boys wore black suits. Nowadays, girls also wear trouser suits and the like, but basically not much has changed from the behaviour established back then. Hairstyles should be elegant but not too conspicuous and the accessories worn usually show religious symbols, e.g. crosses. In general, clothing should be smart, elegant and formal. However, all of these specifications are "unwritten laws", as the church has never issued official guidelines on clothing. However, this did not stop pastors and congregations from setting their own rules, which led to social pressure to dress appropriately. Due to such guidelines and the special nature of the event, many families still feel obliged to buy new clothes for confirmation today, otherwise they fear they will stand out negatively in the community. As the necessary financial resources are often lacking, swap meets and second-hand sales for festive clothing are now booming.

Religious contexts are an important object of study for material culture, which is why the collection also includes confirmation dresses and christening gowns, for example.

Object of the month April 2021

• Object description: Sneaker
• Inventory number: KG815
• In the collection since: 22.04.2002
• Dating: 1989

Millions of items of clothing go unsold in Germany's fashion shops every year - this was already the case before the coronavirus pandemic. But where to put all the clothes? One of these unwanted items has found its way into our collection. These trainers became shelf warmers in the shoe shop of a friend of the donor. Even when they were sold at a flea market, they didn't find a new home. But instead of being thrown away, the shoes ended up in a box and lived there for 10 years until the donor rediscovered them as a suitable item for our collection. However, retailers usually have to come up with other alternatives. Donating the clothes sounds like a logical step in this context, but German tax law often stands in the way. Donations in kind are subject to 19 per cent VAT, which often makes donations more expensive than disposing of them. If a T-shirt cost one euro, a donation of one tonne would have to be taxed at 900 euros, whereas incineration only costs 100 euros.[1] However, disposal is also difficult, because since October 2020, the state has been able to take legal action under the Closed Substance Cycle Waste Management Act if new goods or returns are destroyed.[2] Another option is to pass the clothing on to remnant retailers, who supply outlet shops and deliver abroad. There is currently no obligation to pass on usable products to a collection centre, so it remains to be seen how the routes taken by unwanted items of clothing will develop in the future.

Object of the month March 2021

• Object description: Knitted waistcoat, long shape
• Inventory number: KG1572
• In the collection since: 31/05/2008
• Dating: 1970 to 1989

The object of the month for March is a "favourite item" of our donor. She wore this knitted waistcoat almost every day for 20 years. Even the manufacturing process was something special - at least by today's standards. Our donor wanted a waistcoat, but instead of buying one, she decided to make it herself. She received some wool from a friend who owned sheep, which she spun herself and then used to knit the waistcoat. The result was an everyday companion.

A study by Sophie Woodward, in which she analysed how clothing shapes women's relationship with the outside world, shows that such "favourite items" are connected to their wearers in a special way[1]. Long ownership and frequent wearing create a kind of symbiosis - ultimately, the fabric adapts more and more to the wearer and she feels like she is wearing a "second skin"[2]. This strong emotional bond is often formative in the biography of the person wearing it[3]. If we follow other approaches such as Alfred Gell's, who states that clothing serves to objectify the personality of the wearer for outsiders and to make opinions/feelings etc. visible[4]The great influence of clothing on everyday life is evident. For example, there is the phenomenon of "emotional dressing". Scientists at the University of Queensland, for example, found that we usually choose clothes that show us and others how we want to feel[5]. For example, if we're having a bad day but want to improve our mood, we reach for items of clothing that we associate with something good. So it's high time to give your personal "favourite item" a place of honour in your wardrobe

Object of the month February 2021

• Object description: Trapper knitted
• Inventory number: KG1525
• In the collection since: 19.12.2007
• Dating: 1996 - 2000

Although the multitude of shops and the constant availability of new items of clothing often make it seem otherwise, do-it-yourself clothing still plays a role. As the students of the Institute of Material Culture are often very interested in textiles and skilled in handicrafts, the proportion of handmade items that find their way into the STAK is even higher. In the DIY sector, many consumers find the individuality that fashion companies can only supposedly offer them. Every now and then, a trend or two emerges as a result. In 2010, for example, the company "MyBoshi" ensured that colourful crocheted hats conquered heads across Germany - both bought and crocheted.

The desire for a particular item of clothing, fulfilled by one's own handiwork, also characterises the biography of February's object of the month. Our donor really wanted to own a trapper's hat, so she set to work with her leftover wool. The result is impressive, but hardly anyone was able to see it. Our donor was disappointed with her creation as the wool was itchy and she found the fabric hard to wear. The hat was worn sporadically for two winters in her free time and at university, but then disappeared into the wardrobe for good. The orange hat was added to the collection in 2007.

Katja Kuhlmann

Object of the month January 2021

• Object description: Duffle coat
• Inventory number: KG1064
• In the collection since: 05.11.2003
• Date: 1930-1949

I looked at this coat in the database for a long time and wondered more and more about the term "fur coat", which was found in an older entry. Shouldn't it be "fur coat"? I was interested in the differences between fur and pelt and quickly found an answer on the Internet: creatures with 50 to 400 hairs per square centimetre are wearing fur (e.g. dogs, cats, cows), more than 400 hairs per square centimetre are fur (e.g. mink, beavers, foxes). However, as soon as fur is removed from the skin, it is also called fur. The term "fur coat" is therefore incorrect and is no longer used. But my astonishment at the entry did not end there. While I imagined fur coats only being worn on special occasions by extravagant wearers, this coat is said to have been part of the donor's daughters' "gown look". Looking at the biography of the item, it becomes clear to me why: the coat was probably made between 1930 and 1949 and was acquired by the donor in the mid-1980s in a second-hand shop as an occasional purchase. Its best years were probably already behind it and it was now worn by two teenage girls every day for two to three winters. Numerous wear and tears, tears and patches bear witness to its exertions. Nevertheless, I can hardly imagine wearing this coat in public today. Ethical concerns buzz through my head. Even garments with "fake fur" seem taboo, after all, there are increasing reports that "fake fur" often contains parts of real fur. I close the browser in awe of the coat's lifespan.

Katja Kuhlmann

Object of the month December 2020

• Object description: pyjamas
• Inventory number: KG1513
• In the collection since: 19.12.2007
• Date: 1994

For many people, Christmas means spending time with family or good friends. This year in particular, many people realise how much they miss being close to others and think back to the fond memories, customs and gifts of previous years. The "classic" Christmas gifts are items of clothing. Whether it's granny's home-knitted socks, the rather conservative shirt in an SOS combination (tie, shirt, socks) or the "Ugly Christmas jumper". Almost everyone has been given clothes that only partially correspond to their own taste. However, the object of the month for December shows that even uncomfortable gifts can create beautiful memories. Our donor visited her parents in 1994 and received these pyjamas as a gift on Christmas Eve. She was taken back to her childhood days when she spent the night in a room with her brother and wore the new ensemble. Unfortunately, she couldn't stand the satin fabric on her skin, which is why this was the first and last night she wore the pyjamas. Nevertheless, she kept them for many years. She couldn't imagine parting with it until it became part of our collection in 2007. Here it can continue to spread the "spirit of Christmas".

Object of the month November 2020

• Object description: Palestinian shawl, Kufiya
• Inventory number: KG1494
• In the collection since: 28.11.2007
• Date: 2007

Many people probably have clothes in their wardrobe that they never or rarely wear. More rarely, however, clothes are bought just for a test - like this kufiya (or kufija[1]). It was analysed and discussed during an oral exam - but it was never worn. Now one could ask: Is this kufiya a piece of clothing at all? Or is it just a piece of fabric? This raises the question of what defines clothing: the person wearing it or the source material?

In any case, it is clear to our donor that she retains memories of this item of clothing even without wearing it. She thinks back to the stressful time of preparing for exams and long discussions with friends about the Middle East conflict. This scarf has gone down in history as a symbol of resistance by the Palestinians fighting against Israel, hence the name "Palestinian scarf". Due to this political background, wearing the scarf was out of the question for the donor. In the fashion industry, the symbolism of the object was not treated with the same sensitivity; instead, mass production in China and international marketing strategies for the scarf followed. Local manufacturers were forced out of the market and the kufiya found its way back into European youth culture in the form of a scarf, among other things, but not only as a fashion accessory, but also charged with new symbolism among members of Antifa or neo-Nazis[2].

Object of the month October 2020

• Object description: Skirt, Full skirt, A line
• Inventory number: KG1
• In the collection since: 01.10.1997
• Date: 1953

Clothing does not simply consist of fabric, thread, a string here and a button there. It also consists of experience, practice, time and (manual) labour. Nowadays, our clothes often seem to lack a personal touch. Even though every piece passes through the hands of textile workers during production, it is not in the nature of industrial production to represent individuality. After all, the mass production of goods stands for guaranteeing the conformity of individual pieces.

Our object of the month for October is somewhat different. This item of clothing was produced in-house in 1953 as a model for a fashion show. The hand-stitched seams are particularly visible on the hem of the light beige woollen skirt. Our donor has skilfully sewn on a 20cm wide embellishment from partially drawn-in ribbons. Each slightly irregular yet precisely placed stitch conjures up an image in my mind of a person bending over the skirt with needle and thread in hand. A sentimental thought of the quiet moments of needlework.

Veronika Davydov

Object of the month September 2020

• Object description: Knee socks
• Inventory number: KG8 - KG10
• In the collection since: 01.10.1997
• Date: 1930s

Factors such as time, place, occasion, comfort and one's own aesthetic ideas play an important role in the selection of clothing. The final choice of clothes is based on personal experiences and preferences, and after a while the selection seems to take place automatically and subconsciously. Researching the processes of choosing clothes is one of many aspects that can be done with the help of the objects in the Collection of Everyday Textile Culture. Often, however, there are no notes from the former wearers, so how can such processes be reconstructed?

The first clues are provided by the traces of use and knowledge of material contexts when looking more closely at the object.

The three pairs of white children's stockings are made of cotton and have all been patched several times, are discoloured and have many stains. The elasticated bands are no longer elastic (due to age?) and are crumbly. The many signs of wear suggest that they have been used frequently or for a long time. Cotton is relatively stiff and rather unsuitable for the manufacture of socks due to its low elasticity. However, as these are children's socks, the easy-care properties (boil wash and light repairs) and skin-friendliness of cotton would speak in favour of using them as underwear. At first glance, no further traces can be recognised, so further research into historical contexts must now follow in order to be able to put ourselves in the minds of the former users. After all, a wide variety of factors can influence the choice of clothing: the household's economic situation, academic appointment (of the guardians), place of residence, local and contemporary fashion trends, possible clothing alternatives and their accessibility, and much more.

Object of the month July 2020

• Object description: T-shirt
• Inventory number: KG1876
• In the collection since: 09.09.2019
• Date: 2011-2019

"Rock the summer" is written on this T-shirt and the sight of the headbanging rocker brings to mind rousing concerts on balmy summer nights. However, this item of clothing has never seen a live band, instead it was used to help with the gardening. Although the donor of this T-shirt regularly attends concerts and festivals, he wears merchandising products from his favourite bands. He likes to buy these from the merchandising trading company E.M.P., which is also the source of our object of the month for August. E.M.P. offers its goods in printed mail order catalogues, among other things. This makes E.M.P. one of the few companies in Germany that continues to offer a printed catalogue. Other mail order companies such as Otto have long since discontinued this due to a lack of profitability caused by the shift of purchases to the Internet, and formerly famous catalogues from mail order companies such as Quelle or Neckermann were discontinued in the early 2000s in the course of company closures.[1] According to E.M.P. CEO Ernst Trapp, the printed catalogue represents an important link to regular customers and also helps them to find their way around the large product range.[2] For this reason, the catalogue is still published in a print run of one million copies. As E.M.P. appeals to a special audience - the product range only includes merchandise products for popular films and musicians from the rock and metal music genre - the company also pursues special customer loyalty strategies at concerts and festivals throughout Europe and is present there with sales stands, among other things.

Object of the month July 2020

• Object description: Straw hat, basket bag
• Inventory number: 648, 1491
• In the collection since: 09/04/2001, 23/10/2007
• Dating: -

Holiday plans have been thrown into disarray for many this year. Long-distance travel is currently only possible with reservations and at your own risk. To be on the safe side, some have now planned their summer holidays in their own country. Nevertheless, they still want to go to the sea or at least near a lake. Any wickerwork items are still loyal companions for a beach holiday. Tourist shops offer timeless models of beach bags and sun hats that immediately give shoppers a feeling of being on holiday - even at home.

Object of the month June 2020

• Object description: Flip-flops
• Inventory number: 1681
• In the collection since: 28/08/2009
• Date: -

Summer is just around the corner and as soon as it gets warm, the familiar summer sounds will once again resound through the cities. Thong sandals offer an airy summer and bathing shoe that has been named after the characteristic sound made when walking since the 1960s. Flip-flops are made from a wide variety of materials and have their origins in similarly shaped shoes from ancient Egypt. Their great popularity led companies to specialise in the production of thong sandals and even design socks for use in all temperatures.
The objects shown here were apparently worn a lot and with pleasure, but the material gave way after a short time and shows clear signs of wear.

Object of the month May 2020

• Object name: Messenger bag
• Inventory number: 1072 & 1073
• In the collection since: 14.01.2004
• Date: 2002

These conference bags were given free of charge to participants of the conferences mentioned on them. The wearer, male, architect, travelled to Berlin and Toulouse as a conference participant. At the time, he was working as a research assistant at an architecture faculty and used the bags to transport his documents during the conference. Afterwards, however, the bags were mainly kept in the wardrobe, as they did not meet the fashion requirements. But perhaps the owner's memory of his own poor presentation at the first major international conference also played a role.
Due to the coronavirus pandemic, large conferences have mostly been moved to online formats. This means that the corresponding merchandise is certainly no longer necessary, but unfortunately the experience is also missing.

Object of the month April 2020

• Object description: Confirmation dress, Empire dress
• Inventory number: 1430
• In the collection since: 19/09/2006
• Date: 1972

Easter time is the time of confirmations. The donor of this dress was confirmed in Denmark in 1972 and felt very grown-up in it. Having usually worn customised dresses, she insisted on an "off-the-peg" dress for this occasion. In order to look like the other girls in her class, this dress was bought from Jacobsen in Vordingbord, Denmark.

The donor wore it twice - to her own and a week later to a friend's confirmation. Although fond memories characterise her relationship with this garment, the wearer still remembers that it was a little too tight and therefore not suitable for dancing.

Object of the month March 2020

• Object description: Kimono dressing gown
• Inventory number: 1502
• In the collection since: 19.12.2007
• Date: Early 1990s

Home office? Home schooling? Video conferencing? Terms that will probably be with us for a while now...

It's not just IT providers that are making a profit in times of corona, the economy of leisure and home wear is also being boosted. If the most diverse tasks and parts of the day suddenly all take place in one place, it is best to ensure a universally suitable outfit.

A dressing gown, for example, or in this case a kimono, is a quick way to adapt. Quickly pulled over a nightdress, it offers warmth, protection from prying eyes and, depending on the look, an uncomplicated way to cover up a casual outfit and make it suitable for everyday wear.

The donor wore the kimono as a jacket during the summer months, having made it during her training as a seamstress.

Object of the month February 2020

• Object description: Winter jacket, ski jacket
• Inventory number: 1403
• In the collection since: 04.07.2006
• Date: 1991

The upcoming semester break is often used to go on a real winter holiday in the mountains. For many people, functionality isn't the only thing that matters when it comes to skiing; looks are also a priority when choosing clothes. The donor of this winter jacket has even customised it herself to meet her individual requirements.

After having to cancel her summer holiday for academic appointments, she bought a sewing machine instead. She started appliquéing and chose a winter landscape with sporty motifs for the new winter jacket. At the same time, she added functional elements such as a hood, a belly pocket and an adjustable cuff.

After the intensive work, the donor thought the jacket was far too good to wear while skiing. She took it with her on her skiing holiday but mainly admired it on the hanger.

Object of the month January 2020

• Object description: Spencer jacket
• Inventory number: 1089
• In the collection since: 07/04/2004
• Date: 1992

The donor was immediately sure that she had to have this jacket. Purchased from Alo's Ledermoden at the Steintor in Bremen in the early 1990s, the jacket and the matching spaghetti strap dress became her companions at several parties. However, as the dress was fitted skintight to the wearer's figure, she could barely breathe in it. Although she felt "very sexy" and "never not dressed" in it, the donor was ultimately only able to wear the ensemble for a few years. The memories and probably also the high purchase price ensured that she kept it in her wardrobe for a long time afterwards.

Object of the month December 2019

• Object description: Shoulder pad
• Inventory number: KG1118
• In the collection since: 21/04/2004
• Date: 1988/1989

The Christmas season is just around the corner and with it many occasions when special outfits are required. These shoulder pads are self-adhesive and can therefore be used for various occasions. The donor wanted a smart look, which these shoulder pads gave her.
Originally purchased with a blouse that required shoulder pads, the donor only wore these accessories on days that were not too warm. She wouldn't want to wear the foam on her bare skin today as it made her sweat. In the end, the pads were only worn on a few special occasions over 2-3 years. "You have to take great care of your body and personal hygiene to keep the pads looking good," says the donor. The items themselves also require special attention. For example, the manufacturer recommends always storing them in the box provided after hand washing to preserve their shape.

Object of the month November 2019

• Object description: Ensemble, blazer, pencil skirt
• Inventory number: 1903
• In the collection since: 18.11.2019
• Date: undated

Only recently added to our collection, this two-piece suit by Jil Sander impresses with its simple elegance and timeless style.

The donor bought the costume in 1985 from Mäntelhaus Kaiser in Hanover for a special occasion, namely her daughter's confirmation. Both the blazer and the skirt reflect the characteristics of Jil Sander's fashion; simple in terms of colour and style, but with an unusual cut. She combined the blazer with a short-sleeved blouse and a cast on her leg, as she had recently torn a cruciate ligament on a skiing holiday.

Jil Sander is an internationally renowned fashion designer and shines on the catwalk with her unique collections. The company of the same name was founded in 1968 - but only became famous in the 1980s. Almost 30 years after its foundation, Jil Sander sold a large share of Prada. Today, the brand is owned by a Japanese textile group, which is still in the black.

Object of the month October 2019

• Object description: Sports jacket, sweatshirt jacket
• Inventory number: 1899
• In the collection since: 15/10/2019
• Date: 1990s

When you think back to the greatest hits of the 1990s, what is the first thing that comes to mind? Nirvana, Spice Girls or MC Hammer? Hip-hop was imported from America in the 1990s and has since been reflected in many cultural areas, but above all in fashion. The item presented here comes precisely from this scene, to which the donor felt connected as a teenager.

The very well-preserved sweatshirt jacket from the Enyce label is particularly striking due to its colourful mix of colours. The beige base colour is interspersed with a coarse checked pattern of white, yellow, brown and blue stripes and is reminiscent of the colourful aesthetic of graffiti. The high-quality workmanship can be recognised, among other things, by the fact that the donor has worn the item every day for almost two years, but the jacket does not show it. The slightly wider cut fits perfectly into the fashion image of this cultural movement and was used at the time for freedom of movement when dancing.

Enyce is a hip-hop label that is still popular today and originally belonged to the extremely successful American rapper Sean Diddy Combs - better known as P.Diddy. After the donor had indicated several times that he would like to have something from this label, his parents bought the jacket second-hand in the early 2000s and gave it to him as a birthday present. At the time, he was very proud of the item, which gave him a sense of "coolness" and belonging among his friends.

Object of the month September 2019

• Object description: Coat, fur collar
• Inventory number: 1843
• In the collection since: 14.02.2019
• Date: 1967

Focus on fur - never out of fashion?!

September marks the official start of the third season - autumn. The trees lose their leaves, it gets colder and this year's autumn collections are on display in the shops. A nice, warm coat is a must-have for this stormy season. And one such coat has been selected as this month's object. To be more precise, a rose-coloured coat that catches the eye not only because of its colour, but also because of the soft fur on the collar and sleeve hems.

In the autumn of 1967, the donor and her mother went to the Bauermann retail store in Bremen. She really liked the colour and bought the coat for 134 DM. That was more than her monthly rent at the time and not easy to bear in times of economic crisis. The donor cancelled her entire savings account to pay for it. But the coat was bought for a special occasion, namely the birth of her son. After that, she would give up her academic appointment - i.e. no longer have her own income. To this day, the coat has not only a material but also a high emotional value for the donor.

Wearing real fur has been heavily criticised by animal rights activists, especially since the 1990s. Low environmental standards, poor husbandry conditions and cheap labour ensure that production is profitable from an economic point of view. High-quality faux fur, on the other hand, is produced in complex processes that take a lot of time and money. In addition, many manufacturers do not comply with the labelling requirements for real fur, meaning that the difference between real and faux fur cannot be recognised at first glance. However, many well-known labels, such as Michael Kors, Tommy Hilfiger, Gucci etc., are leading by example and are increasingly doing without real fur in their production. Nevertheless, many customers still buy fur, which results in the agonising deaths of many animals. Wearing fur remains a matter of conscience in this country. Unlike in California: A law has just been passed there that prohibits the production and sale of new fur.

Object of the month August 2019

• Object description: Denim trousers, Levis 501
• Inventory number: 1880
• In the collection since: 02.06.2019
• Dating: 2015

According to the former owner, this object donation is "a milestone in fashion history" and a classic. The Levi Strauss & Co denim trousers, originally "invented" as work trousers in San Francisco in 1853, are part of the wardrobe of a man who favours brands for all his clothing and objects. For him, branded goods mean above all quality, fit and timelessness.

The "Outfit Study" (1998-2001), which surveyed 10,000 German men and women on brand awareness in the jeans fashion sector, found that 78.5% of 14-19 year olds, 72.5% of 20-29 year olds, 60% of 30-49 year olds and still 37.5% of 50-64 year old men and women attach great importance to the brand, especially when buying their jeans.

The reason for giving the Levis 501 as a gift: the trousers no longer fit because he has lost 28 kg. According to the donor, sorting out jeans that are too big from his clothing collection helps him to keep the weight off. Under no circumstances does he want to "grow back" into his oversized trousers.

Object of the month June 2019

• Object description: Potholder, pot holder
• Inventory number: 459 a-c
• In the collection since: 08.05.2001
• Date: ca. 1950s - 1960s

At this point, some readers may be reminded of the 'needlework teacher' from their school days, who criticised a long thread: "Long thread - lazy girl (short thread - hard-working girl)." A long thread may seem practical at first glance, but it has many disadvantages: It knots more easily, the work takes longer overall and the thread is said to lose its natural lustre as it becomes rougher.

There are several examples of textile-related teaching from the post-war period in the Textile Everyday Culture Collection - the objects of the month in June are just such examples. These potholders were crocheted from blue, green and white cotton and donated to the collection by a 'needlework teacher' from Oldenburg. The proverb quoted at the beginning of this article makes it clear that 'needlework lessons' were a feminised practice at the time and an instrument for fixing role models. The lessons trained young girls' manual skills to prepare them for everyday life at home.

For a long time, learning about textiles remained a speechless act; nowadays, theories on the culture of things give it a language and enable the exploration of diverse socio-cultural contexts.

Object of the month May 2019

• Object description: Red and pink mottled costume, blazer and pencil skirt
• Inventory number: 1839 a + b
• In the collection since: 03.01.2019

The donor of this blazer and skirt combination brought a whole bundle of objects to the Institute. In addition to the clothing shown here, which was worn to the meeting of a women's association, she gave her honeymoon costume and debutante dresses to the collection. She was able to tell stories about all of the objects, which were from a long time ago, but were still present in her mind and also provided information about why she had not yet been able to part with the objects. When she learnt about the collection of everyday textile culture and the research focus pursued here, she felt the need to have these stories recorded and to have them stored appropriately together with the associated clothing.

The private photo albums supplied for this purpose are of particular value. The clothes in the Archive for Clothes and Stories hang on hangers in the archive cupboard, which are appropriate for conservation purposes. If we look at the photos of the donor from the times when the items were still worn, they come to life again. The material and the workmanship suggest a high standard. This impression is confirmed by the numerous newspaper cuttings in the donor's photo album.

The ensemble of objects on display here comes from a New York fashion boutique and, judging by the few signs of wear, was rarely worn. Purchased for a special occasion, bought in an upmarket fashion shop and then stored in such a way that it would not be damaged for decades. Not only does the collection seem to have been inspired by history, but the wearer apparently also attaches great importance to the preservation and storage of things and stories.

Object of the month April 2019

• Object description: One-piece trouser suit with short legs, red/white floral pattern
• Inventory number: 1686
• In the collection since: 31/08/2009

According to the lender, the trouser suit with bustier top was acquired in 1946. It was not worn by the lender herself, but by her mother. However, the wearer found it "quite striking and daring" due to its pattern and bright colours and so it was only worn "occasionally, not so often". The one-piece suit was ordered from the mail-order company Witt, probably the first mail-order company in Germany. The owner at the time wore it "on certain occasions", the lender characterises the item as "not work clothes, but nothing festive either".

Now that we can enjoy the first warm days in April, many people are longing for more bright colours in their wardrobe. The summer clothes are being dug out again and are waiting to be used. The wearer remembers that she always stood out with this suit, which was particularly due to the fact that her place of residence was rather small and dignified.

The red ribbon at the waist was added later after repeated washing caused the cotton to shrink and the suit became shorter and tighter. However, the owner wore it less and less as she no longer liked it as much as she did at the beginning.

Object of the month March 2019

• Inventory numbers: 1837, 1838
• Object description: Cardigan green, Cardigan red
• In the collection since: 03.01.2019

The cardigans were donated to the Institute together. The donor took them from her mother's estate and kept them alongside several other items of clothing. As a child, she wore the wool from the red cardigan herself in the form of a jumper. This was unravelled and then knitted together with the wool from another jumper to make this cardigan. The green cardigan, on the other hand, was made for the donor's father and previously provided the wool for two children's jumpers for the donor's brothers.

In addition to the personal reasons for taking over the cardigans from the mother's estate, the aspect of reutilising the raw material of the wool yarn was particularly interesting. At first glance, it can be seen that the sleeves of the red cardigan are significantly shorter than the sleeves of the green one. According to the donor, this is because there was not enough wool for the small children's jumpers. The green cardigan has longer sleeves because the jumpers from whose wool the green cardigan was made were sized for the older brothers, who needed larger jumpers.

The donor's mother ended up wearing both jackets herself after her husband, for whom the green one was knitted, passed away. She always froze in the red jacket because her wrists remained free. The donor herself was able to confirm this, having worn the red jacket herself several times in memory of her deceased mother.

Object of the month: February

• Inventory no.: 1466
• Object description: I love NY T-Shirt white
• In the collection since: 21/02/2007

At the beginning of February, the lecture-free period begins and with it the prospect of travelling for many. Be it to their home town, to visit friends or to go on holiday abroad - holidays and public holidays offer time to do things for which there is sometimes too little time otherwise.

The 1466 object is a popular souvenir from visits to New York. Souvenir shops all over the world are now adapting the typical spelling to their cities and printing it on T-shirts, bags and fridge magnets. Whether the original is from New York is anyone's guess. However, the imprint on the object seen here is branded, indicating that this logo is protected and that it actually originated in New York.

Even if the souvenirs are intended to suggest that the wearers are at home anywhere in the world and have already seen a lot, the donor of this object was embarrassed to wear the T-shirt. He received it as a welcome gift when he was a guest at a wedding in New York in 2006. Other guests wore their T-shirts the evening before the wedding. The donor, on the other hand, "never wore his once" as it was too big for him. Nevertheless, he thought the gesture by the wedding couple was nice because "it combined hospitality and local patriotism".

Object of the month: January

• Inventory no.: 713
• Object description: Corduroy dungarees, green
• In the collection since: 24/04/2001

Corduroy has been worn a lot again since last year. On the one hand, the cold season seems to be fuelling a desire for soft and thicker materials among shoppers, but on the other hand, the revival of 70s fashion is certainly also contributing to the revival. Tight cuffs with wide trouser legs can currently be found in all material variants in clothes shops.

Corduroy is traditionally used especially for workwear for academic appointments belonging to the guilds. The fabric is characterised by the pile part, which is the connection between the weft and warp threads. warp threads warp threads, makes it particularly durable.

This clothing fabric is also called 'Manchester' after the factory town of the same name where it was first produced.

Today, corduroy is particularly popular in the winter months. The dense yet fluffy structure of the material is produced and used in various designs. The wide stripes of the fabric, as in these dungarees, are widely used in traditional guild clothing. The finer versions, on the other hand, are often used for fashionable purposes and often look similar to velvet.

Object of the month: December

• Inventory no.: 1038
• Object description: Rocky H&M rucksack
• In the collection since: 27.06.2003
• Date: ca. 1999

The rucksack, an everyday companion for many and often a classic functional item. It is worn on the back with two straps over the shoulders, allowing freedom of movement for the arms. Even as a child, the school bag heralds the start of independence and thus the beginning of a new phase in life. The process of choosing the appropriate transport textile is associated with great excitement and the object is associated with a special emotional bond. The variety of rucksacks that are designed and advertised for every possible occasion is enormous. The functionality of the textile in terms of material and features is taken into account, but the look of the product should also impress buyers.

The backpack from H&M's own brand Rocky is a lightweight city rucksack. The durable material (polyamide) convinced the buyer in 1999, as she needed a rucksack that she could use at university from then on. For three years, the item that is now part of the collection was the donor's daily companion. The rucksack was also used on a six-week trip to India. This gave the object, which was once bought for everyday use, a stronger emotional meaning for the owner and thus its value for the Clothes and Stories collection.

Object of the month: November

• Inventory no.: 1382
• Object description: Cardigan with Christmas motif
• In the collection since: 21.03.2006
• Date: 1990s

Did you know that "Ugly Christmas Sweater Day" is celebrated in America? The aim is to present yourself in as tacky a jumper as possible; the tackier, the better.

It seems to be a characteristic of the Christmas jumper that it is colourful - usually in red, green, blue or white - and that it is adorned with motifs such as presents, Christmas tree baubles or reindeer heads. Snowflakes seem to me to be the more dignified option.

They don't necessarily have to be knitted, but can also be purchased, especially since the 1980s. It became a trend in those years because TV presenters in the English-speaking world appeared in public wearing such jumpers. The joke became a bestseller, kitsch became cult - not least thanks to Colin Firth's appearance in a jumper with a reindeer head motif in the classic film "Bridget Jones - Chocolate for Breakfast".

This Christmas jumper was also purchased in the 1990s for around 30 euros. Not a lot of money for a joke that made the wearer look like "a decorated Christmas tree" - but it seems to have been worth it.

Last year, Christmas jackets were also commonplace at H & M. Let's see what's on offer this year.

Image source: http://wisski-stak01.virt.uni-oldenburg.de/wisski/navigate/287/view

Object of the month: October

• Object description: Pattern from "burda-Moden"
• Date: 1980s

No, this is not a complex architectural drawing, but a pattern that used to be frequently included as an insert in so-called "women's" and especially sewing magazines.

It was often the case that the patterns were enclosed with the advertised dresses in the magazine.

This pattern comes from "burda moden" from 1987 and serves as a pattern for a combination of a spring dress and matching sash belt, dubbed "the new hit for petites".

The pattern was important in everyday life from the post-war period until the 1970s, as interviews with donors make clear. One donor says that it was hardly possible to do anything other than sew the items herself. Buying things yourself would have been too expensive.

Nowadays, sewing patterns are still relevant, partly because they can now be accessed online. The do-it-yourself sewing trend is in full swing, albeit under different circumstances: Whereas it used to be an economic compulsion to do it yourself, it is now a lifestyle component.

Object of the month: September

• Inventory no.: 1400
• Object description: Sling-back platform shoes
• In the collection since: 20/06/2006
• Date: 1997

Platform shoes have been on the rise again since last year. In the 90s they were all the rage, for example the Buffalos for men and women, also in several colours and variations.

This model with imitation zebra print from our collection is a real eye-catcher.

These are sling-back platform shoes. The term 'sling' is known from 'sling pumps', shoes that are cut out at the back and only a strap at the heel holds the shoe on the foot.

The donor bought them from Deichmann in spring 1997. The reason for the purchase can be summarised in three words: "Saw and fell in love". It was of secondary importance whether new shoes were really needed.

At the age of 19, the donor had a "colourful phase": "Everything was combined - the main thing was to be colourful and not boring".

For about five years, from 1997 to 2002, these shoes were worn every day on many different and special occasions: to school, to the disco, for shopping and even for the graduation ceremony.

The reason why the shoes no longer characterised the outfit from 2002 onwards was simply the fact that platform shoes were going out of fashion and that the donor felt "too old for clunky platform shoes".

The shoes had advantages and disadvantages for her. The advantage was that they made the donor taller and they "saved her from wet feet in wet northern Germany". The disadvantage was that they could not be worn in the winter months because the fact that they were not closed at the back meant that her feet froze.

Nevertheless, they were the "absolute favourite shoes" of the donor, who at the time had a "preference for animal fur looks, especially in shoes".

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• Inventory no.: 875
• Object description: Levi`s 501
• In the collection since: 24/09/2002
• Date: 1996

"'501s' were a 'must'"

This is what the donor says about her frequently worn beige Levi's jeans from the 1990s, on whose leather patch the number 501 was printed in black. According to the donor, every one of her sixth form colleagues at school wore the 501 at the time, "even if the cut didn't suit everyone" - and at a price of DM 159 per item. She remembers that for a while there were also coloured '501s', for example in red, green or black. She also owned the '501' in many different colours, in lighter and darker shades.

More were added to her collection when she spent a year as an au pair in the USA in 1996/97. There she "bought a 501 almost every month because they were so cheap". The average price for a pair of jeans there was around 30 dollars. But the purchases were only worthwhile for a short period of time, because just one year later, the donor reports, the 501 was no longer "in".

This phenomenon, that "colour and cut were no longer fashionable", is a feature of many items of clothing that ultimately found their way into the Textile Everyday Culture collection. Examining fashion in its social context is one of the research focuses of the Institute of Material Culture.

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• Inventory no.: 463
• Object description: Repassier thread
• In the collection since: 04/05/2001
• Date: late 20th century

DEDERON: THE THREAD OF PERFECT RELIABILITY

The polyamide fabric Dederon has a long tradition. Even the name refers to something historic:

Launched in 1959, the new synthetic fibre was named after the state in which it was developed: the GERMAN DEmocratic Republic. The suffix "-on" refers to a similar material, Perlon. This had already been developed in the 1930s as a replacement for nylon from the USA and later became an "essential" raw material for the war effort. A dispute over the trademark rights to Perlon between the GDR and FRG companies made a new name for polyamide fabrics of this type necessary. To this day, the shopping bag and the apron made of Dederon symbolise everyday life in the GDR. "Plastic and elastic" have become proverbial.

The use of man-made fibres was a cost-effective alternative to the expensive imports of cotton. In the planned economy, the population's need for clothing was thus satisfied without burdening the economically weak state. Individual consumer needs met a limited market whose determinants were beyond the control of the individual.

Today, however, Dederon is almost forgotten. However, our collection provides points of reference for material history and personal memories.

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• Inventory no.:1047 a,b
• Object description:Pinstripe jacket with matching waistcoat
• In the collection since:21/07/2003
• Date:1964

NEEDLE and STRIPES

In April, not only is the air getting warmer, but many students' heads are also spinning. The A-level exams are coming up. Can you still remember what you wore on the exam days? Did you tend to wear casual clothes? Did you wear cosy jogging bottoms? Or did you turn up in formal dress?

A school-leaving examination is an important turning point in life. So it's not surprising that the owner of this suit can still remember the exact year he wore it: 1964. He wore this elegant suit for his oral A-level examination in the subject of maths. His mother had bought it for him for around 80 DM from Mode Bruns, a men's outfitter in Oldenburg. He still remembers white chalk dust on the jacket, which trickled onto his jacket while he was writing on the blackboard.

The A-level examination was not the only occasion on which he wore this item of clothing. In the two years that followed, he wore it around 10 times in everyday life and on festive occasions until it became too tight. Around 40 years later, his niece added it to the collection.

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• Inventory no.: 1410
• Object description: Self-sewn summer blouse with appliqués
• In the collection since: 25/07/2006
• Date: 1991

HOME SOUVENIR

Have you already planned your holiday? But what do you do if your holiday falls through?

In the summer of 1991, the donor of this blouse was unable to take a holiday for internal company reasons. Her husband, on the other hand, was granted the holiday, which he ended up taking alone. As a consolation, she bought herself an expensive sewing machine, which she could use practically and whose results delighted her.

The first piece she completed with this sewing machine was this summer blouse. She had bought the fabric for it about three weeks before her holiday and designed the pattern herself.

She usually combined this blouse with a turquoise-coloured short stretch skirt or knee-length cycling shorts. How did she feel in it? "I thought I was dressed very summery and chic and felt very comfortable."

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• Inventory no.: 893 a-d
• Object description: Theatre costume (Kurt Weill production)
• In the collection since: 24/09/2002
• Date: 2000

(ET)WHAT A THEATRE

This theatre costume from the summer months of 2000 is one of the few costumes in the "Textile Everyday Culture" collection. It therefore fits into the collection category "Specialised histories".

Around 18 years have passed since this combination shone in its colours on stage. The costume is a product of a project seminar, a co-operation between the Institute of Material Culture and the Institute of Art and Visual Culture and the Institute of Music. To mark the 100th anniversary of Kurt Weill's birth, the institutes re-staged some of his songs and texts under the title "... of the inadequacy of human endeavour". Students from these disciplines designed this costume and made it themselves. It consists of a top, trousers, an elasticated top, gloves and, surprisingly, a medicine tube from the pharmacy. The actress also wore a cape made from a former dress petticoat.

The costume was used around five times, including in the concert hall at Towson University in the US state of Maryland. This is a partner university and the piece had a guest performance there as part of the Kurt Weill Centennial Celebration.

"Sewing costumes "at the last minute" as one person tried it on for the first time a day or two before the premiere. A funny flight, lovely people, an interesting country, beautiful voices and beautiful music," the donor's notes on the object read.

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• Inventory no.: 1087
• Object description: Pumps, pink-white
• In the collection since: 07/04/2004
• Date: 1985/86

" ...that they don't end up in the rubbish, because I couldn't bear to find out!"

Did you know that there are shoe shops for plus and minus sizes?

One such shop - called "Kosy Schuhe" - existed in Bremen in the spring of 1985. This is where these two pairs of pumps in pink and white and yellow and white in size 32 came from.

The former owner wrote the following on the record sheet of the pieces for the collection: "bought to match the summer fashion of the time, especially suitable for an ensemble in pink and yellow". She revealed that they cost DM 179.90 per pair and that these newly acquired pieces were worn for around three years, especially in the summer months.

There was one catch with the shoes, which the donor noted as follows: "I couldn't walk in the shoes at all, so I only wore them when I knew in advance that I wouldn't need to move around so much." She speaks of a dilemma: "The shoes have a very bad fit - I lose them when I walk ... I think I was blinded by the beauty of these shoes when I bought them. In any case, I didn't realise in the shop how badly you could walk in them. Nevertheless, I couldn't part with them for a long time. I took them out of the wardrobe again and again, unpacked them, looked at them, tried them on ... only to pack them away again. Even though today I would like to treasure the shoes like a treasure, I have decided with a heavy heart to "sacrifice" them for the clothing archive - in the hope "that they - as quoted in the title - will not disappear into the rubbish.

We have 20 to 30 pairs of these pumps in the collection. The donor thus has an emotional connection to her clothes that goes beyond their function.

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• Inventory no.: 1634
• Object description: Muff
• In the collection since: 20/10/2008
• Date: 1990s

FOR THE COLD SEASON

When it gets cold outside, it's time to bundle up again - with hats, scarves and gloves. But not only gloves, but also so-called "muffs" helped and still help to protect the hands from the cold. The term "muff" comes from the Latin word "muffula", which translates as fur glove. They are a form of hand warmer which, unlike gloves, consist of one piece and are worn in front of the body. Such a "muff" was and is mainly worn by women to match the rest of their outfit. The Institute's collection contains several of these "muffs". A dark red model from the 1990s was donated to the Institute in 2008. The second example is more of a muff pocket. Muff bags are characterised by the fact that they have the function of a muff but, as the name suggests, look more like a bag. This grey muff bag is a muff with a pocket handle and a small mirror integrated into the lining. It is a grandmother's heirloom and was worn around the turn of the century and beyond into the 1960s. It is not a self-made piece, but was bought in a shop in Braunschweig.

The donor of this muff said she was giving it away because it was "no longer modern". Even if you look at the streets, hardly anyone seems to wear "muffs" as accessories these days. Perhaps there will be a revival at some point?

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• Inventory no.: 1061
• Object description: Klepper coat
• In the collection since: 05/09/2003
• Date: 1950s

This Klepper coat consists of a cotton fabric to which a rubber coating was applied using a coating process. The process was developed in the 1920s and created a lightweight, easily stowable, rainproof textile that still allowed good air circulation under the coat.

This coat in particular was found in an attic and dates back to the 1950s. The Klepper coats were continuously developed and improved until 1969. The donor stated that the coat was above all very practical and durable. The "Klepper" brand also stood for quality.

Unfortunately, the coat became very well known during the Nazi dictatorship, when various officials wore the coat and it became popularly known as the "Gestapo coat". These rubberised coats were also taken up in the fetish scene, especially in Great Britain, and thus became part of this culture. The "Klepper" was very popular in the 1980s, and the company produced a limited edition for sale as late as 1997. Today it is no longer produced.

Klepper coats have thus accompanied many developments and chapters of modernity. This Klepper coat in particular epitomises the world and conditions in Germany in the 1950s. Its purchase and use are inextricably linked to this period. The rubber that made it durable has become brittle and is beginning to disintegrate in some places. A protective cover that was recently made for it will preserve it for the future.

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• Inventory no.: 824
• Object description: Back massage seat, car seat base
• In the collection since: 24/02/2004
• Date: 1990s

This object comes from the estate of Prof Ingrid Köller, founding director of the Institute of Material Culture.

Köller strongly promoted the theorisation of textile-related teaching.

Originally, this was often an instrument for fixing role models. It was also intended to prepare children for everyday life at home.

For a long time, learning about textiles remained a speechless act.

In order to give it language, it must establish a link to people's everyday lives.

Theoretical references must be established that contextualise the production and consumption of textiles. The cultural-historical significance, but also its aesthetic dimension, must become negotiable.

The car seat underlay thus triggers questions that old-style textile-related lessons could not or would not ask.

Labelled "Handmade?", this object blurs the boundaries between different manufacturing techniques. How can you tell from this car seat pad whether it was made by hand or as a standardised product? What difference does this make to the meaning of the object?

Is it a "textile" at all? Is its knotted structure or the surface of the material made of wooden beads a sufficient characteristic? Or is its close relationship to the body of a car driver and the paths he takes a more significant reference than its texture?

As new assistants to the Institute of Material Culture's collection, we, Nina Ahokas and Felix Otte, are looking forward to addressing these questions and working on new ones.

This year's eighth object adorns the poster for the exhibition "In der Mode kommt ja nix weg!" - 1967 in clothes and stories, which can be seen throughout August at The Smart House Oldenburg. The "Textile Everyday Culture" collection of the Institute of Material Culture contains a number of pieces from the 1960s that are particularly suitable for presentation due to their object history, regional reference and/or material. The exhibits provide information about what is collected in the Institute's collection, why these items of all things have been included (see collection concept) and what can be read from items of clothing about personal attributions and the costume history of the 1960s.

The colourful woollen dress comes from Mrs Margarete Kunze-Groß. She was a close friend of the founder of the institute, Prof Ingrid Köller. Together they published the book "Form-Muster-Rapport" in 1980, in which the fabric pattern of this dress is illustrated. According to Mrs Kunze-Groß, she made this dress in her studio in 1966 and wore it for about 3 years. Thick yarn, known as wick wool, in orange, pink and red was worked into the black and brown wool base fabric by hand.

Other items of clothing, writings, fabrics, textile objects and their stories can be viewed until 26 August at The Smart House Oldenburg (entrance to the Tourist Information centre) near Schlossplatz in Oldenburg. We look forward to your visit!

Especially on 15 August:

Lecture and guided tour of the exhibition "In der Mode kommt ja nix weg! 1967 in clothes and stories"

Lecturers from the Institute of Material Culture, University of Oldenburg

The Institute of Material Culture invites you to a guided tour of the exhibition followed by a lecture on the work of the "Textile Everyday Culture" collection. Visitors are kindly asked to bring their own textile memorabilia and photos from the 1960s. The curators would like to discuss this with the public afterwards over snacks from the sixties.

PROFILE:

• Inventory no.: 1069
• Object description: Rain cape with Disney motif
• In the collection since: 25.11.2003
• Date: 2000

Mickey Mouse in summer

Objects go through careers in a collection. While we are particularly interested in some groups of objects at certain times and on certain themes, these later recede into the background in favour of others. This can be due to the aesthetic preferences of individual researchers as well as current research trends. So why has this rain cape of all things made it to the "Object of the Month: June"?

• Rain capes have been our constant companions as cyclists in the changeable weather of recent weeks. The object thus ties in with current everyday experiences.
• From a conservation point of view, plastics and their decomposition are extremely exciting.
• The refreshing, summery yellow colour of the rain cape fits in well with this time of year and therefore appeals to us spontaneously. Mickey Mouse brings back spontaneous childhood memories. Many of us are already looking forward to our summer holidays - and the story of this cape has something to do with that.

We like to bring souvenirs back from our holidays. They allow friends and relatives to share their own holiday beyond WhatsApp messages and postcards. For the owners, they are mementos and conversation starters.

This rain pocho became a memento, even though the wearer and object donor only wore it for 1-2 days in the summer of 2000. She was an au pair with a host family in the USA. The host family took her to Disneyland for a week. It was raining on the day of the holiday when the host mother bought the poncho. How practical that a water-repellent cape made of 100% PVC, i.e. polyvinyl chloride, was available to buy there.

As practical as this material may have been at the time, it is extremely difficult to store plastic for decades or even centuries. Plastic is not an eternal material. It becomes porous and brittle. The photographic documentation captures the condition of the object in June 2017. It will look very different in a few years' time.

PROFILE

• Inventory no.: 315
• Object description: Hemp-cotton trousers
• In the collection since: 15.11.2000
• Date: ca. 1980s/90s

The proof of the pudding is in the eating

Clothes don't just make people, people also make clothes. They not only produce them, but also use them. In doing so, they often leave irreversible marks on the garments. In most cases, the stains and holes are unintentional and therefore annoying for the wearer. Researchers, on the other hand, can often draw conclusions about the fabric properties and the biography of the object and its wearer.

Prof Ingrid Köller, who was interested in ecological issues and laid the foundations for the collection, was also convinced that the use of textiles can reveal a lot about their nature.

She ventured a wearing experiment. She cut two pairs of trousers, one made of cotton and one made of hemp, into two equal parts. One cotton trouser leg was sewn to the other made of hemp fabric. This gave her two identical pairs of trousers with no difference in fabric quality. She took one pair of trousers with her to her home town of Detmold at the weekend to use for housework and gardening. Accordingly, they were washed regularly - a total of 19 times according to the database of the textile object collection - in contrast to the second pair of trousers, which were never used.

After a longer period of wear and detailed documentation of use - including the effects of light, the resilience of the fabric and the degree of soiling - a clear difference between the two pairs of trousers was recognisable. Ingrid Köller found that the hemp fibre is much more durable and colourfast than the cotton fabric.

The proof of the pudding is in the eating.

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• Inventory no.: 496
• Object description: Nyltest outer shirt
• In the collection since: 21/05/2001
• Date: 1960s

Why iron? There is Nyltest!

"So we see the gum-chewing Yank and the Italian in the red and white striped shirt who turns women's heads, while the ugly German scores at best with an Isetta and a Nyltest shirt" - Hans von Seggern jokes in the Tagesspiegel. We'll leave the clichés about the gentlemen of the 1950s to one side and turn to the material.

Nyltest is not just a term for the nylon we still know today. The fibre, which some people associate with women's stockings, was a component of shirts, blouses, smock aprons and other everyday clothing in the 1950s and 1960s.

Why was Nyltest fabric so popular from the mid-1950s?

In the 1950s and 1960s, not every household had a washing machine. The dirt still had to be removed from the laundry by hand. This was quite a strenuous task. The clothes also had to be ironed, which took a lot of time and nerves in the household.

Then came the Nyltest shirt, which promised the following according to the label:

"Tested and inspected, guaranteed non-iron, 60° wash, Nyltest, nylon 66, Optima"

"Nyltest" promised comfort: a shirt that could be hung on the hanger after washing and put on the next day without creasing.

In return for this relief, many wearers accepted that they could only wear the shirt or blouse for one day at most. The odour of sweat quickly became trapped in these garments.

But what are personal odour and wearing comfort against such a relief at work?

Turn old into new

When was the last time you sewed something yourself instead of ordering it online?

Martha Eller, born in Guntersblum am Rhein in 1928, made this dress around 1948 at the age of 17. She was not alone at that time, shortly after the war. There was a lack of everything, improvisation was needed everywhere. Only if the women hadn't learnt to do it themselves did seamstresses take over the work. Martha Eller, for example, learnt to sew from Catholic sisters who gave sewing lessons in the church annexe.

For the top of the dress, she used a former suit jacket, possibly from her father. She bought a chequered, flannel-like fabric for the skirt. She also used this for the sleeve inserts on the top. The sleeves were generally quite tight, as the fabric was scarce.

The dress was something special in that it was only worn on special occasions. Less "good" clothes were worn in everyday life. Unlike her old skirt made of red flag fabric, for example, Martha Eller only wore it on Sundays for walks and to events such as "der Kerb", the Hessian term for fair, or at the Guntersblum market and when singing in the church (choral society).

After an eventful day, the folds were ironed from top to bottom in the evening so that everything was in order again the next Sunday. This took time, as the fabric is not suitable for pleats.

Martha Eller was very proud when her relatives and friends praised her work. She was particularly pleased with her sister Louise's enthusiasm for her dress, as Louise was the wife of a gentleman's tailor and therefore knew a thing or two about quality.

Do you have any old clothes in your wardrobe that you could turn into a dress? To the sewing machine, get set, go!

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• Inventory no.: 1512 a+b
• Object description: Satin pyjamas (patterned)
• In the collection since: 07/08/2008
• Date: ca. 1990

The life of the patterned satin pyjamas

Once upon a time there were pyjamas that shimmered beautifully because they were made of satin. The pattern of the pyjamas was grey, brown, white and black and they were hanging in a second-hand shop in Bochum. He couldn't remember how he had got there, but he had realised that there was a way to get out of the shop: Look good, fit well and, above all, feel good.

Then Charlotte came by with her first boyfriend. She liked the pyjamas and she liked the pyjamas. He heard the magic words "I would like a pair of grandad pyjamas." Did Charlotte know where he came from? He wanted to go to her, she seemed to know him so well. So he made an effort by shining and making his colours glow. Charlotte smiled at her friend and he bought the patterned satin pyjamas.

An exciting life began for the pyjamas. Charlotte wore them almost every day. She washed it, she put it in the wardrobe, she took it out, she put it on and went to sleep. He noticed that the fabric around the buttonholes was already fraying. Charlotte opened and closed the buttons so often. But that didn't bother him, because it just showed that she really liked him. Grandad was never mentioned and the pyjamas never found out where he came from. Instead, he was all the more pleased that he brought Charlotte joy. She liked wearing it, so what did he care about the past? But then it happened. Charlotte started wearing different pyjamas. They didn't have long legs, weren't made of satin and weren't patterned. They were in the wardrobe more and more often. He was picked up less and less often. He fell asleep in the wardrobe and reminisced about the last five years.

Then Charlotte took it out again. He thought to himself that she had probably come to her senses, after all, it was the best pyjamas anyone could wish for. She took it, smiled and put it in her bag. The next thing he saw were bare rooms. Charlotte talked to someone, told them about her time with the pyjamas and then - she left. Would Charlotte come back? At first, the pyjamas couldn't believe it. Charlotte had left him. The pyjamas were taken and examined. It looked at its new owner, but he didn't seem to want to put it on. It was carefully examined, measured, photographed and given a number. Now it hangs between other pyjamas and is occasionally taken out and looked at again. Then the pyjamas tell its story, about its birth, grandad and Charlotte and how it has fared so far. From time to time, when it is very quiet, he dreams and wishes that Charlotte is doing well.