World Textile (Europe) Unit-5

WORLD TEXTILES EUROPE Italy 14th C Italy was leading producer of both woolen and silk textiles. Silk achieved long lasting fame that continues even now. By 1300, silk manufacture was focused in North (Venice, Genoa, and Tuscany), Venice produced pure silk fabrics, mixture of silk and when in broad widths. The motifs include plants, animals, birds and stylized flowers. In early 14th century silk woven was influenced by imported textiles from Mongol empire. The imported silks were known as tartar cloths ranging from fine linings and light twill damask, to heavy cloths of gold and velvet. These oriental fabrics changed the face of European textile design. By introducing principles of asymmetry and dynamism, they broke the dependence on centuries old rounds patterns. The silks were then woven with vine leaves, small birds and animals human figures hunters, scenes of courtly romance or religious subjects. The ground weave was satin or twill. The more expensive fabrics had gold weave using a thread made from gilt metal around a yellow silk, core. Damask, a type of figured silk woven in twill weave, began to be woven in satin in 14th C. Velvet was the most luxurious silk cloth woven. Initially these were woven with simple stripes or checks but by mid 14th C, they were woven with floral patterns in gold and also with variation in pile height. 15th C Renaissance had its repercussions on silk weaving too. Florence and Genoa emerged as important silk weaving centers. The main motif was pomegranate with pine cones, thistles or pineapples. In first two decodes, silk and velvet were still woven with plant and animal designs with small repeats of 12-15 cm. With the progress of century, animals played a diminishing role and foliage became increasingly prominent. Italian weavers developed more complex brocading skills during 15th C. Metal threads were shown to maximum effect on the surface of cloth. Weavers produced broad areas of gold threat and velvet reduced to fine outline. 16th to 20th C During 16th C, scale of design, types and weights of textiles became diverse. The larger, heavier textiles were used for furnishing, ceremonial and ecclesiastical use and more exclusive cloths worn by wealthiest of families. The pomegranate motif persisted in richest of silk and gold textiles. The ogee lattice is the principal design composition of 16th C. The pomegranate might be framed by branches forming ogee. In the later hay of 16 C, interlaced stem forming ogee became simplified and narrower later in many designs, branches became discontinuous and the effect was simplified.

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The flowers tulips, carnations and others featured in herbals invariably changed direction from one row to next and alternating in horizontal bands. Repetition of minute geometric forms also emerged and was used in dress. During 17th C, woven flowers became more naturalistic and animated with more sinuous stems and leaves species like peony & chrysanthemum enhanced the baroque style. Colors like green, red, bright yellow, blue, purple and gold were used A new palette of salmon pink, lime green, lemon yellow and turquoise blue was developed along with a much more somber group of shades dark red, dark brown, dark green, black and gray. Genoa was known for its velvets specially the monochrome red and blue ones with several heights of pile. The flowers were drawn on a bold scale. Some Italian designs have become classic like the frame or Florentine pattern. Many types of mixed fabrics were also produced Perugia is associated with linen towels patterned with indigo dyed cotton supplementary weft. They have folk embroidery patterns like paired birds and figured designs. In Tuscany, wide range of mixed fabrics were manufactured for furnishing use heavyweight silk cotton, silk linen , linen wool etc. Some Italian workshops produced light weight plain silk (taffetas and gauzes) which were exported to France. SPAIN In 8th century, textile production was confined to wool and linen. Figured silks were imported from eastern Mediterranean. The moors introduced sericulture. By 9th C, there is evidence of figured silk textiles embellished with silver thread. The Umayyad dynasty set a shining example of Arab culture, craftsmanship and decoration. Many aspects of Arab culture and style were adopted in the interior decoration and clothes of Spanish royalty and Arab craftsmanship By mid 13th C Northern Spain was reclaimed by Christian church some Arab weavers were given textile workshops to run contributing to catholic luxury. The designs and techniques of silk weaving were determined by Spains cultural relations with other countries. Weft faced compound twill was dominant during early period. These featured roundels enclosing paired birds and animals. The main characteristics of Spanish silk were detailed geometric in filling of frame work, interstices and features like birds wings, contrasting colors, accentuating the motifs and making them stand out from the background. During 10th and 11th C, veils, cushion covers and other designs were woven with bands of keyic script and tapestry inserts containing stylized animal and human figures revealing Coptic influence. The designs also include double headed eagle, griffins, lions and peacocks. The characters of keyic script were embellished with flowers scrolls etc. Sumptuary laws in 13th C, restricted the use of gold thread in weaving and embroidery. Only monarchs dress had silk with gold, silver and precious stones. Patterns included complex interlacing lines in horizontal, vertical and diagonal axes to form square grids, stars and rosettes. The effect is highly stylized and geometric. During 14th century, there

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was a decline in animal bird theme and variations of lo zenges and eight pointed star were used along with calligraphic decorations and bands of interlaced arches. By the end of the C floral and natural rhythms replaced the geometric nature of the textiles ogee forms and pomegranate was also used. Spanish textiles have more prominent linear effects and use more of gold or silver in brocades. Spanish silk production declined as France began to dominate from 17th century. FRANCE: From 17th C, French govt. regulations and patronage encouraged and supported the devp of silk weaving industry. The industry went into decline during the French revolution but was revived in late 17th C. Lyons was the major center of production, producing every things from plain satin and taffeta in self colors to very elaborate polychrome and metallic brocaded silks, other centers only specialized in one of the many fabrics. In 18th C, silks from other enter also entered France cut velvets from Italy, watered or Moire silks from England. In 1677, guild restrictions were imposed on fabrics dyeing its width, content, density of wp and wf etc. By 1770s, the three main weaves satin, taffeta and twill corresponded to three different seasons satin for winters, taffeta in summer and twill in autumn Jean Paulet, designer and manufacturer designed a fabric musulmane combining all three weaves, which was popular all the year around. By the end of 18th C, elaborate silk was used only for Catholic Church. The designs changed regularly and patterning gradually. Silk manufacturers were able to detect changes in patterns and colors by the year in which they were sold. They produced new collections twice a year symmetrical and Asymmetrical repeats coexisted throughout the century colors were striking and diverse. In early 18th C, small rows of flowers became more naturalistic, woven in colour rather than in metallic threads. In 1730s, silk designer Jean Revels designs consisted of heavy three dimensional fruits and flowers. The scale of flowers and fruits decreased noticeably in following decade till next 40 years until the plain ground of silk dominated the tiny, separate bouquets of flowers or individual scattered flowers unlike English flowers, French flowers were stylized than being naturalistic by 1760s, under the influence of neo classicism, straight lines dominated the pattern forming columns and insects and flowers scattered across them. THE NETHERLANDS: Figured damasks were produced in and around the Netherlands from 16-18th century. They served as historical documents as several events like battle victories and coronations, heraldic crests, mottoes and dates were incorporated. These linens were handed down through generations and often passed as gifts on occasions like marriage. These were belongings of privileged sector because they were extremely expens ive to

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produce and required meticulous care by household servants. Haarlem was main center of linen production during 17th century. By 16th century, damask weaving was a professional activity located in organized urban workshops. Figured linen damasks were woven on draw looms often imitating the floral designs of Italian silk damasks. Designs compressed of tree of life, paired birds and animals in early 17th C, plant forms continued to dominate the design, sometimes incorporating peacock and cockerels and human figures. In central panel, there could be six different scenes arranged in horizontal bands and repeated up the length of the cloth. Borders include pomegranates, grapes, tulips etc., graphic scenes included mythical characters. In 18th C, architectural and outdoor scenes look more panoramic, designs were less cramped. Attention was paid to wider, symmetrical borders with motifs agreed into corners. The figured patterns could not be read without a play of light on the warp and weft faced surfaces. The linen had to be treated to a smooth finish. These were manufactured in sets large table cloth, 12 napkins, a cupboard cloth and a long towel for servant to carry over an arm to present to guest for draying his hand. Servants skilled in the specialized task of maintaining the linen were required. Huge fields were devoted to laying out of newly woven cloth for exposure to sun, air and dew. The lye (water alkalized with wood ash) was left to activate on the cloth for up to two weeks before cloth was soured in weak solution of acid to neutralize it. The cloth was then pounded to bring out surface shine, followed by starching. During 18th C , the Dutch damask industry declined due to success of foreign weaving centers and reduction in export. GREECE The Greek embroidery has a lot of influence from all its invaders Greece comprises of a number of islands and a mainland. The imp differences in the island and mainland work are mainland embroidery developed as a decoration for womens dresses whereas island embroidery was used for wide range of domestic textiles including dresses. The most commonly embroidered article is womans dress Poukamiso, which is worn for over 2000 years. It is a simple cut, full length shift with long sleeves worn as daily wear as well as ceremonial dress in decorative form. It is made of cotton or linen. It was worn as a part of laye red costume and only the areas which were seen were embroidered like the base of the skirt, around the neck, sleeves. Dark red, dark blue or black colors are used for geometrical patterns. In Greek Island, bed was the most significant furniture piece in the house and the embroideries associated with bed were the most magnificent ones. Bed tents were the most imposing and lavish structures introduced by Italians. The tent comprised of 10 panels suspended from the ring and embroidered motifs comprised of heraldic coats of aims or stylized flower urns worked in monochrome or two alternate colors, curtains, door panels, bolster covers were some of the other articles made.

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Embroidery in Greece was a domestic craft and was a part of the daily household ritual. Every household had a loom and both linen and cotton were woven on it. Clothes were made at home and embellished with embroidery. Silk was an expens ive material special stitches were developed for embroidery to make sure that maximum silk was visible on the outer surface. Most common stitches were darning, stem and cross stitch. SCANDINAVIA Festive linen bedcover, pillowcases, hangings, towels, shirts, apron, scarves were embroidered with motifs drawn in threadwork and Red Cross stitch. Traditional embroidery was done in wool. Motifs depict flower sprays, tulips, roses, carnations, pomegranates and 8-pointed star with small birds, horses, deer and figures, usually arranged around a central motif. Appliqu was also commonly used on pockets and cushions. Tapestry was also seen in Scandinavian wall hangings of 14-16th century. SCOTLAND Many professionals were engaged on white work than on any other form of embroidery. The production was of very high standard including the delicate work, needle lace filling which was introduced to Scotland from France. By 1860s, machines were developed which could reproduce almost all embroideries. UKRAINE Embroidery of Ukraine was concentrated on full gathered sleeves of womens shifts of linen or hemp and was predominantly in black or red. Black was also used with yellow. Cross stitch was used with drawn thread work. Patterns were symbolic representing blood, sun and fertility Rose berry, poppy, rose, oak leaf and strawberry were common motifs. Multicolored floral work was done on wool particularly for mens shirt and felted coats. Ritual towels are very important in peoples life. figures, flowers or birds and is predominantly red. The embroidery depicts goddess

RUSSIA There was a clash of two traditional embroideries ruling aristocratic elite and ecclesiastical (Greek Church) work of Orthodox Church, while local peasantry retained their archaic pattern. Professional workshops were established. Theses continued ecclesiastical embroidery showing Byzantine influence. Pearls and gold work also adorned the clothing of aristocracy and merchant class. Embroidery was predominantly red with Navy Cross stitch on sleeves and h and in em vertical panels down the front of the dress. The fabric was white linen and embroidery was combined with drawn thread work and bobbin lace.

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In South Russia, multicolored chain stitch was more common and was used on towels and bed linen. These had a pulled thread work border. Motifs included contemporary figures, goddess, horse riders, stylized peacock double eagle, hunting scenes, tree of life etc.

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