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Newsletter No. 1-07 (Jan. 2007)   Page 2 of 5 / Sidan 2 av 5. [back to page 1] Arcive/Arkiv: [1]

Editors/Redaktion

This newsletter is written in order to spread experiences within the topic of historic textiles and reconstructions. Our ambition is to amuse you and stimulate interest in the 18th Century. Durán Textiles, who is mainly working with museum collections and Royal Castles, was founded in 2002 by CEO and production manager Laila Durán, with co-worker artist Torkel Henriksson who is doing the artworks and preparing the designs for production. Our production is done mostly in India supervised by Duran Textiles inspectors. 
- The articles are mainly written by Laila Durán but we also have help from colleagues and specialists from several museums and universities.  In the future this newsletter will be distributed four times a year and is free of charge. We hope you will enjoy our stories and offers and help us to spread the letter to friends and colleagues. Contact: www.durantextiles.com

Detta nyhetsbrev skrivs för att sprida erfarenheter inom ämnet rekonstruktioner av historiska textiler och 1700-talet. Ambitionen är att roa och stimulera intresset. Durán Textiles har varit verksamt sedan 2002 och arbetar med projekt för Kungliga Slott och museisamlingar i hela Skandinavien. Laila Durán är VD och projektledare, Torkel Henriksson arbetar med originalen och alla förlagor för tryck och väv. På plats i Indien, där de flesta av tygerna produceras, finns Durán Textiles egna inspektörer.
- Artiklarna skrivs huvudsakligen av Laila Durán men vi får även hjälp av kollegor och specialister från olika muséer och universitet.  Nyhetsbrevet kommer i fortsättningen att komma ut fyra gånger per år och är helt kostnadsfritt. Vi hoppas ni ska uppskatta våra artiklar och erbjudanden och även sprida informationen vidare till Era vänner. Kontakt: www.durantextiles.com


 

 

A woman’s short gown from Visby, Sweden

There are numerous 18th century textiles preserved in Sweden. Durán Textiles AB cooperate with several Swedish museums to reproduce textiles from their collections. When possible we also make documentation of the items the fabric were used for. This could give a deepened knowledge about the function, origin and dating of the reproduced textiles.
The Original for our popular cotton print
Anemon is taken from a 18th century short gown in the collections of the county museum of Gotland, Visby, Sweden. The inventory number 28 indicate that this piece of clothing was one of the first items that reached the museum when collection begun at 1875. No records are made in the catalogue about the donor or the history of the short gown, but certainly it origins from Gotland. Probably it was given to the museum by one of the wealthy families in Visby, who are mentioned as donators of other textiles to the collection. The pattern of the printed cotton is in late baroque style, and the cut, with great width in the sides, suggest a dating to 1750-70. Several other short gowns in silk with a similar cut are made of silks from this period. Later Swedish short gowns 1770-1800 seems to be shorter and have a more fitted cut.
The Swedish word used in the 18th century was generally kofta, or maybe more specific cassequin/kassekäng for the loose fitting gown.

Material:
Short gown: block printed cotton (Swedish: kattun) width of fabric: 105 cm, middle fine, ca 15x18 uneven spun threads/cm. Printed in four colours: red, yellow, black and grey. An advanced printing method has been used, where two colours were block printed and the other painted on the fabric. In the middle of the 18th century cotton was imported as raw material to Sweden to be spun and woven in the country. Several Swedish block printing manufactories are known. Among others Tobias Lang’s workshop in Visby, whose printing blocks and archive are kept in the local museum. This print, however, was probably made somewhere else as he used simpler patterns and printing techniques and was active 1784-1835, when this type of pattern was out of fashion. A sample print in his collection shows a similar, but more rococo style, pattern. It is doubtful if even this was ever produced in his manufactory. (Duran Textiles AB has reproduced this pattern as
Rose.)
Lining: Middle fine bleached and slightly glazed linen tabby, width of fabric 47 cm. In the sleeves the lining is mended with coarse linen tabby and a piece of striped woollen twill.

Cut:
The cut of the short gown is very simple. There is no shoulder seam and the sleeve is cut in one piece with the body. The length of the gown is 65 cm. Spread flat with the cuffs unfolded the width of the garment is 131 cm, at the waist 42 cm. The sides are angled to fit a skirt with great width over the hips. The width at the hem matches the width of the fabric. In the side seams there are 13 cm long pocket slits. Through these the wearer could reach hanging pockets tied at the waist. The sleeves are 28 cm wide, and pieced with straight pieces. At the end they have folded cuffs ca 6,5 cm wide. The fabric of the sleeve is folded into the sleeve to form a facing for the cuff, The collar is 4,3 cm high and 67,5 cm long. The collar with the pointed ends are a peculiar detail that differs this piece of clothing from other Swedish short gowns.

Stiching:
The cotton for the short gown was stitched together in the side seam and the sleeves with back stitches, using coarse linen thread. Piecings with selvedges were overcast together. The piecing for the linen lining was overcast and then sewn to the short gown at hem and pocket slit with small running stitches. Inside the sleeve the lining was folded an slipstitched to the cotton. In the side seams the lining was slipstitched from the inside. The collar was sewn to the neck from the right side with back stitches, then it was folded and slip stitched to the lining. Two pair of green silk ribbons were attached with green silk at the front under the collar and 9 cm below.
This cotton short gown was probably a bourgeois lady’s better everyday wear. It was worn over a shift and a bodice together with skirt and petticoats, maybe also with some type of small hoops. There are not many skirts preserved from the 18th century, because they were made of straight pieces that could easily be reused. The skirt might have been is same material as the short gown, like preserved silk and cotton short gowns with matching skirts in the collection of Nordiska museets, Kulturen i Lunds and Finland. Otherwise the short gown was worn with a skirt in different material: wool or quilted silk for winter, and printed, plain or striped cotton or linen for summer. The costume was completed with apron, kerchief and cap. Durán Textiles AB reconstructed the cotton print and named it Anemon. A copy of the short gown was made with a matching skirt in the new fabric, and illustrate how an everyday costume might have looked like in mid 18th century Sweden.

Martin Ciszuk
Sources:
Garderob 2003 Annual of Swedish society for costume history.
http://www.lansmuseetgotland.se

 

 

The original of the 18th century loose fitted gown. The County Museum of Gotland.
Click on the picture.

 

Reconstruction of the loose fitted gown in the printed cotton Anemon by Durán Textiles AB.
See webpage:

[photo gallery] [cotton print Anemon]

 


Click on the picture for more detaljs.

 


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