The art of dyeing fabrics is one of the oldest human activities. In order to improve the fastness properties of dyeing products, various additives are added to optimize the uniformity of fibers and surfaces and improve dye distribution. Unfortunately, these additives can be harmful and very often are not biodegradable. This article reports on the possibility of using a natural additive for dyeing textiles: a polysaccharide extracted from the prickly pear cactus (Opuntia ficus indica). One type of fabric was tested, silk, with different colors. Several samples were prepared and dyed for each color, adding the same additives but also a commercial chemical aid for one of them and the mucilage of Opuntia for another. The fastness of the applied dyes was evaluated by washing at different temperatures with a common liquid detergent. All samples were analyzed before and after washing with a colorimeter to evaluate the color changes. The results of the analyses reported and compared indicate the potential of prickly pear mucilage as an additive for dyeing silk, which is easily accessible, safe, and sustainable compared to other commonly used additives.

The Ethnographic Museum in Dubrovnik holds an extensive textile collection which includes a number of dresses and costumes from Croatia and neighbouring countries. Until recently, the costumes were displayed on mannequins created by the academic artist Zvonimir Lončarić (1927–2004). His sculptures are expressive forms made of terracotta, fibreglass, wood, metal, acrylic paint and other materials chosen for their visual appeal. Due to their importance, the museum considered the mannequins to be protected works of art in the permanent exhibition; however, they had a harmful effect on the costumes displayed. In 2018, after completing a series of conservation–restoration projects within the collection, it was decided to replace the existing mounts with new, museum-quality mannequins. Two project-based learning workshops were organised, led by a team of textile conservators from the University of Dubrovnik and the Croatian Conservation Institute, in collaboration with the curator of the Ethnographic Museum. This case study highlights the challenges of exhibiting ethnographic costumes by discussing past presentation methods and how new solutions have been implemented in line with the modern conservation–restoration profession. The new solutions take into consideration ethics, decision-making processes, and an understanding of contemporary materials and methodology.

The Ethnographic Museum in Dubrovnik holds an extensive textile collection that includes a range of dress and costume from Croatia and neighbouring countries. Until recently, the costumes were displayed on mannequins created by the academic artist Zvonimir Lončarić (1927–2004). His sculptures are expressive forms constructed from terracotta, fibreglass, wood, metal, acrylic paint and other materials selected for their visual appeal. Due to their importance, the museum considered the mannequins as protected artworks in the permanent exhibition, however, they had a harmful effect on the costumes displayed. In 2018, after completing a series of conservation-restoration projects within the collection, it was decided to replace the existing mounts with new, museum–quality mannequins. Two project–based learning workshops were organised, led by a team of textile conservators from the University of Dubrovnik and the Croatian Conservation Institute, in cooperation with the curator of the Ethnographic Museum. This case study highlights the challenges of exhibiting ethnographic costumes by discussing past presentation methods and how new solutions have been implemented conforming with the modern conservation-restoration profession. The new solutions consider ethics, decision–making processes, and the understanding of contemporary materials and methodology.