Newsletter No. 3-09 (Jun. 2009)   Page 2 av 4 / Sidan 2 av 4. [back to page 1]
Arcive/Arkiv 2007: [1] [2] [3] [4] [5] [6] [7] [8] [9]
Arcive/Arkiv 2008: [1] [2] [3] [4] [5] [6] [7]
Arcive/Arkiv 2009: [1] [2] [3]


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:

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:



Christening gowns. 
Text Martin Ciszuk. Photo Laila Durán.

Some of the original for the printed fabrics in Duran Textiles Historic Collection are linings in christening garments from the 18th and the early 19th century. These artifacts have been preserved in family collections, churches and museum because they were associated to persons, families or the district. A lot of ceremonies and traditions were connected to the baptism of a child and the christening garments were an important part of these.

Up to the mid 18th century small children were swaddled so that arms and legs were kept straight and still. This was made by practical reasons to keep the baby warm and keep diapers in place, but also because of the belief that this was beneficial for the development of straight limbs and good posture of the child. The swaddling was also convenient to prevent the baby from crawling away and an easy way for the mother to carry the child while performing daily work. The preserved christening garments from Scandinavia have very different appearance. The ancient habit of wrapping the child in a precious fabric for the baptismal ceremony was developed into making a christening gown shaped like a bag with a long decorative hanging panel. One common form was the hooded bag, where the top of christening gown was shaped like a hood, which enclosed the child. From the mid 18th century to the beginning of the 19th century the habit of swaddling decreased gradually, influenced by the enlightenment ideas of child rising, first in the upper classes later at the countryside. The child was then swaddled at the lower part of the body leaving the arms free, and dressed in christening jackets. An example is the original for KRASSE, which is a lining of such a garment – notably from a priest family, who often acted as innovators of new ideas on the countryside. See Duran Textiles Newsletter 2-2009. Otherwise the bag shaped christening gowns now often were made with sleeves, making them more like dresses. The white baptismal dresses, as we recognize them in Scandinavia today, made of lace, tulle and lawn did not have a common breakthrough in Scandinavia until the end of the 19th century.

The christening garments are often made from patterned silk and decorated with metal lace, bobbin lace, silk ribbons, bows, gold and silver braid and glass beads. Reused fabrics are common, particularly among the christening gowns from the countryside. The silks are often older than the printed linings and the sometimes inscribed dates. Probably, garments made from precious fabric that had gone out of fashion were donated by the local nobility and remade and decorated as christening garments by the woman in the parish who lend or rented them out for the baptism ceremony (often the clergyman’s wife). Among the upper classes and in royal contexts a christening garment could be used for generations in the same family, and there are sometimes traditions telling that the garments were made using fabrics from the bridal gown of an ancestral mother. Printed cottons with colorful design were often used as linings in the christening garments. These fabrics seems more often to be contemporary with the making of the garments, but sometimes smaller pieces of different design were used in the same lining, which indicates that leftovers from dressmaking or reused material was utilized.

The child is baptized by clergyman Johan Lambert in Seglora church at Skansen open-air museum, Stockholm.

We created a set of christening garments using fabrics from Duran Textile Historic Collection, primary using the garment we studied at the Lolland Falster museum in Maribo as a model, Denmark. We made a christening gown of the hooded bag model of yellow silk damask FLORA, lined with three printed cottons: ANEMON red, RANKA turquoise and RIPS. The gown is decorated with white and red silk ribbons and bows, metal lace, braids and red and green glass beads. At the bottom the bag is marked with the year and the initials referring to the parents of the first child that were baptized in the gown. The child, a little girl, is only lightly swaddled and wears a tiny linen smock with lace collar and cuffs over a christening jacket in red silk damask FLORA. The jacket is closed in the back tied with tapes, bound with green ribbons and decorated with gold lace. In Denmark the decoration of the sleeves differed according to the sex of the child. A girl’s jacket had rounded decoration while the boy’s sleeves were decorated in form of a straight angle. The construction of the bonnets was also different: small girls wore a bonnet made from one central piece and two side pieces, whereas boys had bonnets made from several wedge shaped pieces. Under the silk bonnet, which is also decorated with gold lace, silk ribbons and glass beads and lined with the printed cotton RIPS; the child wears a linen coif edged with lace.

A sleeping angel gets the blessing dressed in a richly
decorated christening gown.

In combination with the colorful regional costumes and in contrast to the clergyman in strict black and white the richly decorated christening garments acted as an eye-catcher. It accentuated the child as the principal character in the baptismal ceremony which was important not only for the child, but also for the family as well as for the society.

The Clergyman Johan Lambert wearing black cassock and cape. The old fashioned wig was worn with the official dress up to the 19th century.

Dåbstöj - Kristningskläder av Anni Block



The beautiful christening gown in yellow silk damask, richly decorated with silk ribbons and glass beads. The godmother carries the baby. She is wearing a regional costume from southern Sweden with an elaborate linen feast day kerchief.

Christening jacket in red silk damask. The rounded sleeve decoration tells that it is made for a girl.

Our newly reproduced printed cotton modeled from a christening garment in the collections of Lolland Falster museum is used as a lining in the small jacket.

The christening bonnet for girls was made in three pieces, with a small tip in the front. A linen coif edged with lace was worn under the bonnet.

The letters at the bottom of the gown represent the parents of the child.

Christening gown in the collection of Lolland Falster museum, Denmark, made in the beginning of the 19th century using 18th century silk.

A diagram of the christening gown made by Duran Textiles.

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