Review: 2nd International Symposium on Hallstatt-Textiles

From March 21 to 23 we attended the 2nd International Symposium on Hallstatt-Textiles: 3000 Years of Colour – from Tradition to Art and Innovation, that took place at the Natural History Museum of Vienna.

The conference’s aim was to show and discuss the results of an interdisciplinary project of nearly 30 specialists from different areas including archaeologists, natural scientists, engineers, producers and artists: the analysis, comparison and reproduction of prehistoric textiles found in the old salt mines of Hallstatt, Austria, as an inspiration for the contemporary application of natural dyes. Nowadays, the use of natural dyes is connected to contemporary ideas of sustainability and has an important role in the conscious production of textiles and garments, but in the Symposium context was also understood as a valuable cultural heritage to be preserved, amplified and spread.

The salt mines of Hallstatt are among the oldest in the world. Extraction tools, remains of carrying baskets and pieces of clothing were found buried under multiple layers of mud. In the early times salt was a prized substance that was traded for other goods. The foreign objects (jewellery, coloured ceramics, weapons) found in graves near the mines are proofs of early commercial activities.
The textiles date back to the Bronze and Iron Ages. The strong presence of salt in the dry and dark environment of the mines and the low temperature perfectly preserved organic materials such as textiles and leather, so it was possible to recognize patterns, materials and colours.
It was astonishing to find out that contemporary techniques for fibre preparation, spinning and weaving were developed in these early times already.

In order to understand more about prehistoric textile techniques and methods from the past, and in the framework of experimental archaeology, different experts worked together to replicate Iron Age woven ribbons made of hand spun yarns and dyed with natural dyestuffs.
The scientific methods used in the analysis of fibres and dye components, the dyeing experiments, light fastness tests and weaving techniques were exposed and clearly explained by showing both the process and the outcomes. The research was performed according to questions formulated a priori and considering the objectivity, repeatability and the informative value of the experiments.
Part of the team studied the fibres while others dedicated to prepare the fleece from rare sheep breeds (related to primitives ones), spinned out threads by hand, dyed and wove new versions of the textiles.

First, samples of Hallstatt traditional ribbons were analysed in order to discover the types of fibres used, determine their qualities (pigmentation, length of staple and dimensions) and conditions.
the most common fibre used was wool from primitive sheep breeds.
The parallel fibres found in the threads indicate that the fleece was prepared and combed before spinning. The different lengths and thicknesses indicate selection: some of the textiles found were very fine and delicate.
In general, the fibres presented some kind of degradation.
The studies revealed the presence of inorganic components like alum, copper and iron sulphate, all of them having an influence on the colours. It is possible that only alum was used deliberately as a mordant.
Although some of the fibres were naturally pigmented, the presence of organic compounds like luteolin, apigenin, indirubin, indigotin, alizarin and purpurin show that dyeing technology was well known in the Early Iron Age society.
Archaeologists and natural scientists performed many tests in order to identify the vegetal (and animal) species employed to colour the ribbons. It is known that tannin and yellow dyes contain quercetin, luteolin and apigenin, present in plants like weld (Reseda luteola) and scentless chamomile. Among some of the plants used for the research was woad (European indigo), which contains the blue organic compound indigotin. Reds are usually obtained from lichens, plants from the Rubiaciae family like madder and insects like kermes and polish cochineal. These and other colour sources like Lady’s bedstraw (Galium verum) were also tested.
Recognizing the dye source – the relation between local plant species and components found on textiles samples – was very challenging. It was actually not possible to clearly identify most of the dyestuff used to colour the ribbons. The results also varied according to the type of mordant used, since alum, for example (and also other chemical compounds), can be found in different salt forms.
Some of the colours may have been affected by the presence of copper in the mines or even migrated. Two of the experiments included reproducing some of the mine conditions to analyse changes occurred during burial. But there were no conclusive answers yet.

Regarding the yarns, the use of the spindle was apparently widespread since these tools were also found in the graves.
The textiles presented a variety of textures, patterns, stitches and colours. Checks, stripes and even complex textile weaves as twill were intentionally used in the design of fabrics. Also naturally pigmented wool was combined with plant dyed wool.
Some of the clothes found showed repairs and repeated dyeing, revealing that people from the early ages probably reused their garments.

Besides the main research, a number of experts also showed results from their analysis of traditional textiles and practices from China, Denmark, Egypt, Finland, Russia (Altai Mountains) and Turkey and compared them to the ones in Hallstatt.

Anne de la Sayette of Couleurs de Plantes held a very interesting speech. This French company is specialized in the development and production of natural dyes in an industrial scale. After many years of research, the initiative currently cultivates dyeing plants along with farmers, extracts dyes (water-soluble) and pigments (insoluble), produces plant extracts and plant colouring matters and works along the clients on the dye application. They also study colourfastness, reproducibility and adaptation to industrial processes and requirements of each kind of product.
Although not the main goal, they try to be as sustainable as possible: they reuse the water and bring plant remains back to the fields.

During the two and a half days of the symposium at the Natural History Museum, the tools and materials employed in the course of the research where exhibited: coloured wool fleece, yarns, spindles, and the woven ribbons, both the originals and the reproductions.
We were also able to see different examples of the contemporary application of natural dyes in art pieces and installations from the students of the University of Applied Arts Vienna and hand made products from artisans like Cornelia Blümli, Mr. Koó, an Austrian indigo dye master and an Indian NGO called Avani (you can also check out our blog entry about this project).

Conclusion
This Symposium’s intention was to trace old techniques and reconstruct complex methods from the past in order to inspire contemporary artistic work. Despite the fact that in many parts of the world these practices were never discontinued, the results of the exposed interdisciplinary research made evident that the application of organic dyes represents a great opportunity for innovation in sustainable design – not only art. For the same reason, this knowledge should be preserved and transmitted.
Natural dyes, though, are not sustainable per se: the entire process can use large amounts of water and resources if not managed wisely. Today’s way of living is making us reflect on our consumerist behaviours. Turning back to ancient techniques and slow ways of production might be one of many possible answers. The key would be to reduce our needs and live better with less.

Picture: kulturundwein.beepworld.de