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But more prestigious clothes, lihin-lihin, were added for public appearances and especially on formal occasions—blouses and tunics, loose smocks with sleeves, capes, or ankle-length robes.

The textiles of which they were made were similarly varied.

In ascending order of value, they were abaca, abaca decorated with colored cotton thread, cotton, cotton decorated with embroidery digitizing silk thread, silk, imported printstuff, and an elegant abaca woven of selected fibers almost as thin as silk.

In addition, Pigafetta mentioned both G-strings and skirts of bark cloth.

Gassing is the process of passing yarn, as distinct from fabric very rapidly through a series of Bunsen gas flames in a gassing frame, in order to burn off the projecting fibres and make the thread round and smooth and also brighter.

Only the better qualities of yarn are gassed, such as that used for digitizing voiles, poplins, venetians, gabardines, many Egyptian qualities, etc.

There is a loss of weight in gassing, which varies' about 5 to 8 per cent., so that if a 2/60's yarn is required 2/56's would be used.

The gassed yarn is darker in shade afterwards, but should not be scorched.

Historic textile collections can largely be divided into three categories: museums, historic societies/locations, and private collections.

The needs of each of these locations will vary.

A private collection, for instance, is less likely to have as high a traffic flow as a museum, and may thus be able to take preservation steps that a working museum cannot (such as keeping lights to a minimum for longer periods of time).

The different venues may also have different problems that arise, such as the fact that many historic homes do not have climate control, and rely strongly on natural light to display their furnishings, both of which may contribute to textile decay.