The development of textile art could develop without the stylistic drawing of traditional sources of art-craft production in the postwar period, derived from the research of the rich traditional diversity of textile forms. Decorative textile and the application of traditional techniques is characteristic of the work of Mária Rudavská, Viola Thainová, Elena Holéczyová, who was devoted to making bobbin lace, as well as Viera Škrabalová and Olga Štěpaníková.

A representative form of tapestry was applied in the field of textile creation with respect to the rate of the application of a monumental expression and weaving tradition in folk art. Oversized works, mostly created according to the template of leading painters (Ľudovít Fulla, Janko Alexy), were placed in architectural spaces. The success of woven tapestry also gradually inspired younger artists and contributed to its spread and popularization. Several Slovak artists established close cooperation with Gobelin tapestry and carpet workshops in Valašské Meziříčí. In the second half of the 1950s, Lea Mrázová, Mikuláš Klimčák, Ernest Zmeták, Matilda Čechová created their tapestries, as well as a group comprised of Greinerová, Čihánková and Kraicová. Also, there was tapestry by Martin Benka, and later tapestries by Oto Opršal, Rudolf Krivoš, Juraj Krén, Michal Kern and Peter Matejka. Prof. Peter Matejka and his department of monumental paintings and tapestries in the Academy of Fine Arts and Design in Bratislava (VŠVU) started to cooperate on the basis of established relationships. The higher-year students could execute their theses on the premises of the renowned workshops. They gradually brought new elements to tapestry – experimental technological procedures and non-traditional materials. The Art Protis technique became popular – non-woven tapestry. Authorial weaving discovered new ways of plastics expressing and the use of newly emerging materials based on synthetic textile fibers. There emerged irregular spatial reliefs and tapestries of atypical formats, in which structure and color were mixed together with non-traditional knitting, bobbin lace and weaving techniques. This textile sector did not lack the formation of assemblages, collages and various variable spatial objects. The special inventiveness in material and technical experimentation were represented by the works of Silvia Fedorová, Slávka Pecháčková, Milan Chvíľa, Oto Opršal, Jozef Kurjak and Štefan Rabina. The tapestry boom lasted only a certain time period. Textile production in the Slovak Republic was in considerable crisis after the boom in the 1970s, and except for a few isolated artists, was in relative decline towards the end of the 1970s. The demand for monumental interior decoration gave way to more intimate textile manifestations and concentrated on the production of household textiles and supplements.

Jarmila Čihánková was the one who first developed her own system in the Art Potis technique – by slitting, re-stitching and smoothing the art potis surface. She creates constructive compositions with an inspirational starting point in the geometric rhythm of Slovak folk ornaments. The main motif is most often situated into a monochromatic or rhythmically shifted smooth background. She later discloses a highlighted bottom surface underlining the light phenomenon. Her benefit is the production of multi-part environments with a clear effort to solve the environment through the variable rhythmic decorative spatial composition of textile drapes. Eva Císárová-Mináriková, in her stylistic creation, pays attention to the citations of historical tapestries with an emphasis on the haptic features of textile material, combining weft ridges with the finely woven fragments of copies of historical tapestries in Gothic millefleur styles. She applies various techniques, a wide variety of materials and structures of personally stained sisal combined with non-spun wool and sheared cloth. She combines them with azure embroidery, recycled textiles, hand-held paper, felting, sewing, frottaging, collage, accumulation, pigment painting and regularly varied formats. Silvia Fedorová is given to tapestry, but also other kinds of cloth expression – the textile’s miniature and jewels created through the bobbin lace making technique. In her performance tapestry dominates with experimentation in the classic and new textile materials (sisal, flax, jute, wool). She is thematically inclined towards landscape and nature motifs with a lyrical and poetic tone. Since the 1980s, she has been intensively devoted to the bobbin lace technique, abandoning its classical position and introducing a distinctive experimental expression to it. She uses non-traditional materials such as fibers, paper strings, wires, cables and, lastly, waste plastic bags with which she achieves new opportunities of shape and formats of expression. Katarína Šujanová develops plastic sentiment and varies textile techniques with the different effects of white areas in her drape creation on a white color theme. She examines dimensional modifications and the possibilities of textiles in the linear rhythmic compositions of arcs, waves and the parallel currents of threads. She also creates three-dimensional decorative sculptures from stassels, balls and other elementary formations which comprehensively operates with the colored, shaped, but also visual and tactile features of the material. She has achieved success also in decorative drapes created through a film printing technique. The creations of Karol Baron presents a free painter version of woven or bonded monumental variable drape within the composing architectural space. He explores tapestry continuously passing through from the wall to the floor as well as by building several sections built before themselves in the context of the space experiment. He gradually highlights stylistic tendencies and emphatically applies the contrast of woven and linked areas as an important spatial element in the composite compositions created from several separate textile elements. Katarína Zavarská surpasses traditional weaver techniques and procedures, leaving the rectangular format and experimenting with materials in a tapestry. The plastic game with enlaced fibers adds a new volume to tapestry. Zavarská’s manuscript is initially manifested by a characteristic geometric stylization which later in its procedures, penetrates the figurative element in the form of references to contemporary photographs that are layered and interconnected with the structure of the woven tapestry. She engages a self-portrait fragmentarily coming up from the fabric structures into her work. Later her work moves more towards three-dimensional fabric installation.

Since the mid 1980s, artistic textiles have received new impulses thanks to the contribution of Karol Pichler, in the form of experimental methods of creation from paper, plastic, cotton and metal. His creative geometric and deconstructivist compositions positively marked the further development of the textile field. Jozef Bajus occupied himself with similar ideas of upgrading the textile area and ultimately he successfully integrated the textile medium into fine art. He chose paper as the primary medium, which he initially destroyed by shearing and quilting in plane geometry works. Later, by using similar techniques supplemented by folding and shifting paper, he creates spatial chamber works and dimensional jewelry objects. He continuously adds plastics, wood and metal, which he intentionally degrades through various interventional forms. He achieves new shapes, images and patterns by slitting, stitching, laminating, binding or stapling. The result of the creative process is a three-dimensional autonomous work in the form of relief, sculpture, concept, environment and installations reflecting the social, political, and environmental framework for the world and its impact on consumer society. Iveta Miháliková uses multiple techniques, styles and formats – from textile miniatures to dimensional tapestries. In addition to textile experiments, she often engages paper, glass, plastic and natural material. She is inspired by the world of nature and the intimate surviving of human existence. Another thematic plane of her work involves the creation of two-dimensional hinged images with abstract motifs in geometric compositions with the illusory effect of a plastic shape.

The experimental conception of textiles from the view of materials usage and manufacturing processes became more prominent during the 1990s. Textile discipline oscillated on the border of the applied sector and free fine art creation. From textile forms there were particularly applied miniatures, characterized by handling alternate material, playing with fabric texture and non-textile technologies. In terms of forms, it is often jewelry artifacts or miniature works with the attribute of fine art artifacts. In term of materials, particular works are differentiated according to the utilizing of conventional textile materials or paper, plastic, feathers, wire, wood, metal and the like. Small objects from everyday life and recycled fabric are incorporated into subtle objects. Natural and artificial materials are processed through a combination of traditional and modern technologies. Diversity is also reflected in the spectrum of approaches from blanket material researches, through narrative three-dimensional works, spontaneously reacting to emotional stimuli, up to works with a conceptual context (Silvia Fedorová, Eva Cisárová-Mináriková, Jozef Bajus, Júlia Novodomcová, Mária Fulková, Miroslav Brooš, Iveta Miháliková, Mária Longauerová, Soňa Sadlíková, Lívia Slížová, Mária and Zuzana Hromadová, Lívia Slížová, Alžbeta Burianová, Blanka Cepková, Zuzana Rudavská, Katarína Ondrejková and Ildikó Dobešová).

Graduates of the Academy of Fine Arts and Design in Bratislava are devoted to various textile applications in free creation, fashion design and textile design. A strong representation is presented by the disciples of the free textile production studio, whose program is aimed at finding intermedia artistic expression drawing from knowledge of history and textiles art, the use of traditional and modern technological processes and materials (Dagmar Hrnčárová, Veronika Wagnerová, Eva Forgáčová, Jana Nováková, Zuzana Branišová, Juraj Straka and others).

The graduates of the fashion design studio at the Academy of Fine Arts and Design in Bratislava understand fashion design as a communication tool to denounce stories, feelings and ideas, which they can transform into a form acceptable by the commercial sphere. Achievements in the field of fashion design have already been achieved by Mária Štraneková, Marcel Holubec, Lukáš Kimlička, Izabela Komjáti, Lenka Sršňová, Milota Krajinčáková, Michaela Luptáková, Boris Hanečka, Andrea Kvasnicová, Michaela Mazalanová and others. The graduates of the textile design studio are experiencing a similar situation, some of them already operating under their own brand and predominantly devoted to the design of original products. A designing pair composed of Michal Rafaj and Zuzana Kubáňová acts under the Popular brand and interconnects a distinctive graphic design with the noticeable appearance of textile products; Michaela Bednárová is trying to become popular with the Puojd clothing brand and many others found use in the textile industry of existing firms.