<p>This paper addresses the need to review the modern presentation of textile archaeology in museums. It is time to look at textiles in archaeology with new eyes. The reality behind archaeological textilestudy is holistic, embracing many different aspects of society. The presentation of textiles has in my opinion become old-fashioned. I will show in my paper that Jonathan Adams’ `seven constraints´ model, developed for research on ancient ships, can also be applied to textile research. I will also show that it is obvious that all seven constraints or`aspects´ as I call them - namely purpose, technology, traditions,material resources, economy, environment and ideology - and the connections between them should be taken up in museum displays. It is first then that we can obtain a holistic view of what textiles have meant to people over time.</p>

Current scholarship on contemporary artist Yinka Shonibare MBE focuses on analyzing his deconstruction of identities through ready-made cultural paradigms epitomized by the use of Dutch wax textiles as an expression of “African-ness.” Through subversive tactics, Shonibare creates disoriented views of power that unveil the masquerade of identity. What is often unstated within this critique, however, is the role of the feminine performance. From the swinging maiden to the ballerina sur les pointes, women and femininity maintain an indelible role in Shonibare’s production. Thus, by evaluating gender with greater precision, I will highlight Shonibare’s dependency on stereotypes of femininity and the female body for cultural intelligibility.

This paper addresses the need to review the modern presentation of textile archaeology in museums. It is time to look at textiles in archaeology with new eyes. The reality behind archaeological textilestudy is holistic, embracing many different aspects of society. The presentation of textiles has in my opinion become old-fashioned. I will show in my paper that Jonathan Adams’ `seven constraints´ model, developed for research on ancient ships, can also be applied to textile research. I will also show that it is obvious that all seven constraints or`aspects´ as I call them - namely purpose, technology, traditions,material resources, economy, environment and ideology - and the connections between them should be taken up in museum displays. It is first then that we can obtain a holistic view of what textiles have meant to people over time.

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