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<\/a><\/figure>\n<\/div>\n\n\nAria XYX, Rebloom<\/em>, Sonsonate, El Salvador<\/p>\n\n\n Orlando Dugi, Tunic, New Mexico (left) and Jontay Kahm, Resonance dress, Mosquito First Nation, Saskatchewan (right)<\/p>\n\n\n\n On display alongside Taking Shape<\/em> is Made by Many<\/em>, an exhibition that traces fifty years of the museum\u2019s history. It offers a reverse chronological journey\u2014from 2025 back to the museum\u2019s founding in 1975. Highlights include a Japanese Rain Cape<\/em> woven from seaweed grass, fish-skin garments from Northwest China, and Nunavut textile prints from the 1950s and 1960s.<\/p>\n\n\n Installation view of Made by Many<\/em> with Japanese textiles: Raincape<\/em> and Cloth<\/em> (right)<\/p>\n\n\n You Wenfeng, Boys\u2019s Fish skin clothing<\/em>, 2006, Salmon skin, Northwest China<\/p>\n\n\n\n Visitors can engage with interactive tables that allow them to touch samples of embroidery, mirror work, and beadwork\u2014designed for educational use by students and curious visitors alike. The exhibition emphasizes that the museum\u2019s collection has truly been \u201cmade by many,\u201d reflecting contributions from artists, donors, and cultures spanning Indonesia, Malaysia, Central Asia, and Canada.<\/p>\n\n\n Rug from the land of the Caucasus and Prayer Rug from Azerbaijan<\/p>\n\n\n Interactive collection of beaded work, mirror work from India and Pakistan<\/p>\n\n\n\n Positioned between Taking Shape<\/em> and Made by Many<\/em>, the installation Meeting Points<\/em> serves as both a literal and symbolic bridge. Featuring the work of a Nigerian artist, Samuel Nnorom, who previously exhibited at the museum. This work emphasizes the museum\u2019s evolving role as a space for dialogue\u2014a meeting ground for artists, audiences, and communities to connect through textile art.<\/p>\n\n\n Samuel Nnorom, Meeting points<\/em>, installation, Nigeria<\/p>\n\n\n\n On the museum\u2019s second floor, the exhibition From Cloth to Code: New Media Responses<\/em>, curated by Ignazio Nicastro, explores the intersection of textile and technology. Artists reinterpret traditional textiles using 3D printing, digital imaging, and interactive installations. Highlights include digital garments inspired by historical fabrics, a robotic priest wearing a recreated 17th-century chasuble, and works that reflect themes of isolation, transformation, and ancestral continuity.<\/p>\n\n\n Arice, Vestige<\/em>, 2025 (left) and Kausha Motamedi, Echoed Voice<\/em>, 2024 (right)<\/p>\n\n\n\n One particularly evocative piece by Egyptian artist Joy Khalil uses aged fabrics sealed in vacuum bags to symbolize cultural displacement, deterioration, and the evolution of identity through migration and time.<\/p>\n\n\n From Cloth to Code<\/em> exhibition, Ali Phi, Qal<\/em>, interactive installation<\/p>\n\n\n Joy Khalil, Maqamat<\/em>, multimedia installation<\/p>\n\n\n\n The museum\u2019s reopening also introduces an expanded Learning Hub, where visitors can experience hands-on activities such as weaving, embroidery, and textile conservation. Workshops led by specialists, including Conservation Project Manager Alison Moule, demonstrate traditional and modern techniques on functional looms\u2014encouraging visitors to participate in the art of making.<\/p>\n\n\n<\/a><\/figure>\n<\/div>\n\n\n<\/a><\/figure>\n<\/div>\n\n\n<\/a><\/figure>\n<\/div>\n\n\n<\/a><\/figure>\n<\/div>\n\n\n<\/a><\/figure>\n<\/div>\n\n\n<\/a><\/figure>\n<\/div>\n\n\n<\/a><\/figure>\n<\/div>\n\n\n<\/a><\/figure>\n<\/div>\n\n\n<\/a><\/figure>\n<\/div>\n\n\n