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Textile Materials and Decorative Techniques/ 2017 = Textilní Materiály a Výzdobné Techniky / 2017 8

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Textile Materials and Decorative Techniques/ 2017 = Textilní Materiály a Výzdobné Techniky / 2017 8 Textile materials and decorative techniques/ 2017 = Textilní materiály a výzdobné techniky / 2017 8. lecture – spring 2017 ----------------------------------------------------------------------------------------------------------- Decorative textile techniques on traditional dress When classifying a fabric, we first look at the material aspect and technology = workflow. Whether it is a product made up of one yarn, one yarn system or two yarn sets. Then we look at the used decoration. This may be the 1. decoration that is part of the texture or 2. the decoration carried - the decoration affixed to the mat. The decoration that forms part of the texture is created simultaneously in the fabrication process itself (see previous hours). The decoration carried is attached to the underlying fabric or other textile or clothing backing (eg leather). The clothing of inhabitants from Moravian regions has evolved into several regional forms in the course of centuries. Some of these forms can be considered still living and changing forms of so-called traditional dress. Their appearance has resulted from the historical development determined by economic, social and cultural influences. In the past, the clothing style in towns significantly differed from that in villages, being closely connected with the social status of an individual. The emphasis on keeping up the traditions in clothing survived even the abolition of serfdom in the country. The clothing of individual regions or even villages differed from each other in a distinctive way. Clothing was still an earmark that could tell many things about its bearer, not only which village he or she came from. It could reveal the bearer’s age, social status, wealth etc. On exceptional occasions, unique garments or accessories – sashes or crowns – used to be worn. Influenced by the town stylish culture, also the colours and materials of the fabrics or embroideries changed. We can see that stylish adornments (whitework, painted embroidery, and painting on fabric), new motifs in embroidery, new types of lace (netted, machine) as well as linings and trimming were taken over to become a part of the decoration. In the past, garments were to meet all the criteria that the tradition, kept up by the society, laid on them. Therefore it was necessary to choose the right form of adornment. The adornment was chosen with respect to the type of the garment – whether it was a festive, a ceremonial or an everyday one. The appearance of the adornment could fulfil also its magic function, especially in the case of embroidery. The simplest form of decorations used on traditional dress consists in using such decorating elements that are made of the material used for making the dress. Attractive were also different dying techniques. In addition to these adornments, the application of so-called carried textile techniques, i.e. embroidery, lace, and appliqué, had spread since the second half of the 18th century. Until that time, in folk environment embroidery and lace could be found more on home textiles or sacred textiles that became popular. In folk environment, both the men and women dealt with embroidering. The women worked with garments made of light materials. Men’s embroidery can be found on cloth garments, fur coats and leather pieces. This always pertains to so-called tailor-style embroidery made by craftsmen. The tradition of homemade embroideries was very strong in Moravian Slovakia and the ethnographic areas of Kopanice, Horňácko, Podluží, Walachia, luhačovické Zálesí, Brněnsko etc. The situation was different in the production of lace. The most laces were of foreign origin. Exceptional is only netted lace made in the regions of Brněnsko, Walachia, luhačovické Zálesí. Needle lace from the regions of Wallachia and Těšínsko is connected with the Moravian territory as well. Application of textile or non-textile decorations to a dress is another decorative technique. The appliqués can be found on all garments, be they made of light materials (silk, damask, brocade, fine linen etc.) or heavier materials (cloth), fur or leather. Here we explain only the appliqués on textile garments. The appliqués used on different garments were inspired and influenced by military uniforms. At the beginning of their applications, however, the carried decorative techniques were not an embellishment in the first place. Their positions on the garments foreshadow they were used for practical reasons. After having been improved and multiplied, this originally practical element could become an aesthetical element, or a ceremonial and magic element, in dependence on the function of a garment. The main aim of this publication is to draw attention to the necessity of a complex view of decorative techniques connected with the traditional dress in Moravia. Carried textile techniques a) Lace Translucency of lace is the basic criterion for its assessment. Products made of lace are airy, and the underlying fabric is visible through them, Lace can also form a kind of decorative net. Laces can be made as a separate product (bobbin lace, netted lace) and then attached to another textile, or they can be made directly on the decorated textile – needle laces or macramé. Bobbin lace is made by braiding and twisting lengths of threads; netted lace and needle lace are made of one endless thread. Netted lace can be combined with embroidery, which decorate the net with white or colour cotton threads. Textile manuals offer different theories about the origin of lace. Laces could evolve in rural environment as a stage in the development of embroidery, or as an autonomous handicraft. However, different opinions say they could be imported to rural environment from higher social classes. Many ethnographers searched for an explanation as well. In the monograph Krajky a krajkářství lidu slovanského Laces and Lace Making of the Slavonic People (1908) R. Bíbová mentioned she could find such archaic techniques solely in Slavonic environment. Lace (needle and bobbin lace) came into widespread use in Europe in the 15th century. For the first time, lace occurred in Venice where lace-making techniques were imported by Arabic tradesmen. However, it was the Venice tradesmen who extended and cultivated these techniques, when exporting them to entire Europe. Historic conditions, development of local industry, fashionable demands or conservatism of some regions caused that the development of lace-making differed in particular regions. Bobbin lace-making became established in many regions and some of them appropriate the invention of lace, e.g. Spain or Netherlands. Pre-drawn sketches, patterns, and engravings with patterns spread through Europe alongside the technique. Originally, the patterns were of Italian origin, the oldest ones were made in the 16th century in Venice, Augsburg, Leipzig, and Cologne upon Rhine, i.e. in the towns where book-printing was widespread. Pre-drawn designs were used by lace-makers, embroiderers, painters, engravers and other artists and craftsmen. Frequently reproduced was the work Eyn new kunstlich boich by P. Quentel. It includes pattern for geometric embroidery, Holbein stitch, knotted stitch, or drawn-thread openwork. Esemplario dei lavori by N. d´Aristotela alias Zappino, issued in 1530 for the first time, is an example of a pattern book that influenced textile production also in our country. In the Ore Mountains, mainly in the town of Annaberg and its environs, they used the pattern book Nová vzorová kniha paličkovaných šňůr New Pattern Book for Bobbin Cords by K. Floshover. Domestic tape laces from the 19th century are successors of Baroque and Rococo laces called also monastery or twisted laces. Milan tape lace was popular in the Czech and especially Slovak environments. Domestic production includes also Valencienne laces as well as bobbin laces called vláčka or stick lace, which are based on Brussels lace with rustic traces and creative ability of local lace-makers. Twisted, caterpillar, monastery, or nettle laces, made in our folk environment, belong to those influenced by strong Baroque lace-making. Despite this, we can find on them also a strong influence of folk environment. Should we evaluate the laces made in folk environment, e.g. by the women and men who were not trained at workshops or art studios, we can say that we could find pieces of garments, such as ends of scarves, parts of bonnets or narrow strips of fabrics. Materials used for lace-making were coarser than those used for stylish laces were. The resulting impression is also more rustic than in the case of similar stylish products; the aesthetic value of the work, however, is high and also the workmanship is unusually good. This bears witness to mastering the lace-making techniques, to knowledge about modern trends in lace-making and to searching for some technical details, e.g. attaching or twisting of a strip, inserting a colour pair etc. It was solely trade contacts, economical conditions, period taste, and certain elements of constancy in the rural material culture that decided if a technique was kept, required and used. Some ethnographers understand lace as an expression of folk art. The harmony of material, shape, and form constitutes a characteristic feature of folk art products. As to its development, folk art includes two categories: traditional folk art, and the kind of art that became popular and that is called folk craft or folk art manufacture. In our opinion, lace-making can be classified as the art that became popular, because it uses techniques and natural materials based on traditions, and the homemade products are sold at fairs. The profit is used to cover needs of the producer’s family. However, lace-making was initiated by the demand of higher social classes and the technique and designs corresponded to this inquiry. Gradual transfer of the production to untrained home producers caused the production to have got more rustic character. This process showed creative abilities of folk environment. We noticed a certain development in the perception of bobbin lace in the past.
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