DOI Page / Citation link:
https://doi.org/10.11588/diglit.22262#0111
Swedish shawls and kerchiefs and their relations to Polish textiles
Different regulations were introduced
as to what clothes particular classes of
the society were or were not allowed to
wear. There was, for instance, a discus-
sion at the highest level of state admin-
istration on whether servant girls could
wear coifs of printed cotton. After sev-
eral months' debatę the decision was
made that they would be allowed to
wear printed fabrics of indigenous
make, for example linen, but not im-
ported cotton. Later, however, this ban
was lifted.
With the Empire vogue of around 1800,
fashion-conscious bourgeoisie women
took to wearing ąuantities of shawls
and neckwear. One has to think of the
cold climate and the fact that Empire
styles were more suitable for warmer
climates and left the wearer exposed.
The Empire fashion inspired the pro- , r „ . r „ ,
rc , . r i couple irom Mora m iolk costumes made
duction of shawls and covenngs for the of wool and ^ j 830
shoulders (Fig. 1). The fabrics were also
printed as piece goods (by the metre)
and used for aprons etc. Shawls and neckwear became very popular in peasant so-
ciety too.
There was much secrecy involved in the dyeing of fabrics. The most difficult col-
our to achieve was red. In 1747 some Greek dyers in Rouen revealed the secret of
dyeing red with madder, or 'Turkey red', as it was called. The secret began to leak
out. But initially, the know-how available was enough only to dye yarn and whole
lengths of fabric. Nobody was able to print on fabrics. After much experimentation,
however, Nicholas Koechlin & Freres in Miilhausen (present-day Mulhouse), Alsace,
arrived at what is known as 'Merino red', a cotton fabric with black decoration. This
was the beginning of a techniąue that soon spread like wildfire throughout Europę.
Continued experimentation led Daniel Koechlin to discovering that chrome yellow
(chrome-oxidised lead) could be used for etching madder-dyed fabrics. The
method was called 'yellow etching' and its products were known as 'yellow-and-red
Merinos'.
One of the first Swedish contacts with Turkey-red cotton fabrics was via hair work-
ers who brought home ideas from Russia in the 1830s and 1840s. Hair workers were
109
WMKM
Different regulations were introduced
as to what clothes particular classes of
the society were or were not allowed to
wear. There was, for instance, a discus-
sion at the highest level of state admin-
istration on whether servant girls could
wear coifs of printed cotton. After sev-
eral months' debatę the decision was
made that they would be allowed to
wear printed fabrics of indigenous
make, for example linen, but not im-
ported cotton. Later, however, this ban
was lifted.
With the Empire vogue of around 1800,
fashion-conscious bourgeoisie women
took to wearing ąuantities of shawls
and neckwear. One has to think of the
cold climate and the fact that Empire
styles were more suitable for warmer
climates and left the wearer exposed.
The Empire fashion inspired the pro- , r „ . r „ ,
rc , . r i couple irom Mora m iolk costumes made
duction of shawls and covenngs for the of wool and ^ j 830
shoulders (Fig. 1). The fabrics were also
printed as piece goods (by the metre)
and used for aprons etc. Shawls and neckwear became very popular in peasant so-
ciety too.
There was much secrecy involved in the dyeing of fabrics. The most difficult col-
our to achieve was red. In 1747 some Greek dyers in Rouen revealed the secret of
dyeing red with madder, or 'Turkey red', as it was called. The secret began to leak
out. But initially, the know-how available was enough only to dye yarn and whole
lengths of fabric. Nobody was able to print on fabrics. After much experimentation,
however, Nicholas Koechlin & Freres in Miilhausen (present-day Mulhouse), Alsace,
arrived at what is known as 'Merino red', a cotton fabric with black decoration. This
was the beginning of a techniąue that soon spread like wildfire throughout Europę.
Continued experimentation led Daniel Koechlin to discovering that chrome yellow
(chrome-oxidised lead) could be used for etching madder-dyed fabrics. The
method was called 'yellow etching' and its products were known as 'yellow-and-red
Merinos'.
One of the first Swedish contacts with Turkey-red cotton fabrics was via hair work-
ers who brought home ideas from Russia in the 1830s and 1840s. Hair workers were
109
WMKM