Brussels weaving workshops worked for the wealthiest clients: popes and rulers. These were large enterprises, employing from a few to a dozen qualified weavers, capable of bearing the very high costs of making fabrics. Expensive materials — the best wool, often Spanish or English, silk and the most expensive threads of gold and silver — constituted a very serious expense, not only for the workshop, but also for the client.

The homespun sukmana coat is traditionally believed to belong to Tadeusz Kościuszko, sewn of ashen cloth, with long sleeves lined at the end with red fabric, widening from the waist down. The upright collar is sewn with a red fabric inset. On the collar, along the hook-and-eye clasp, at the waist and the coat tail cut, there are brown braids of woollen string. At the bottom of the right coat tail there are four horizontal zones of blue and yellow embroidered with wool.

The offered hand invites a handshake. However, its extension is a dirty flag with the inscription Rag. We must decide whether we shall respond in kind to the seemingly friendly gesture, or whether we shall openly reject it. The work is a commentary on the epoch of the People's Republic of Poland.

The interwar period wast the heyday for many fields of art and the economy, including Polish industrial design. The trends in contemporary design were initiated by the cooperative “Ład”, founded in 1926 by the lecturers of the School of Fine Arts in Warsaw as a continuation of the concept of Kraków Workshops.

This is a fragment of a loincloth with applications in the form of sewn-in wheels and fringes. The fabric comes from Peru and is a part of Władysław Kluger’s collection from 1876.

The “trumpet” was an object — a prop of the Rabbi character (played by Zbigniew Gostomski) and his Pupil (Dominika Michalczuk). The natural-sized tin trumpet was covered with a black material, a kind of casing whose end on the cup side dropped loosely falling into the metal bucket. The trumpet was hung on a metal frame structure (nearly 3.5 metres high) where a system of blocks and transmissions was installed with steel links enabling it to be raised and dropped by a crank handle.

The second tapestry in the series The Story of the Tower of Babel shows the consequences of human pride. The builders of the tower wanted it to reach the sky. Human pride angered God, who decided to destroy the work of sinful humanity. Bearded Nimrod, the initiator of the construction, stands at the foot of the tower with hand upraised, trying to shield himself from the Creator, who appears in the upper right hand corner of the textile. Builders working at ground level have scattered their tools and disperse in panic, while those who are on the scaffolding point the angry Creator out to reach other; furter in the background, work continues as if nothing has happened.

The tapestry has been preserved in two parts. Like other arcade tapestries of this type, which were designed to be put up above window recesses, it was damaged when it was kept in Russia in the nineteenth century. At that time, its central section was cut out.
In both sections of the textile, a goddess is shown with a palm wreath on her head. The seated figure holds a cornucopia in her hands, which allows us to identify her as Ceres, the Roman goddess of the harvest.

A kimono is one of the first things that comes to mind when we think of Japan. We always see those traditional dresses exquisitely decorated with painted or embroidered designs. Each of them is decorated with the most beautiful and elegant patterns. However, there are also everyday kimonos with repeating, small patterns of flowers, birds, fans and other motifs. They are made using stencils such as the Ise-katagami, which the Japanese have been creating for centuries.

Textile executed in tapestry weave and “flying-shuttle” technique. This element originates from Coptic tunic. The preserved fragment inside an aorbiculus is covered with decoration of the Flechtknoten type.