20 Nov Book Victoria & Albert Pattern: Spitalfields Silks
I will start teaching my first course on ‘Collaborative Design with Artisans’ as an Adjunct Professor at FIT from the coming Saturday. This new opportunity encouraged me to read about handmade textiles from a global perspective. I read some exciting books from the V&A Museum’s Textile and Fashion collections. It is a very enriching experience to learn from other cultures. This reading and research have helped us enhance our design approach and library at Marasim. As I am hopeful, it will also help further the knowledge of my soon to be students.
V&A Pattern. Spitalfields Silks from London
Today I want to talk about a little book called ‘V&A Pattern. Spitalfields Silks‘ that I just finished reading. It is more of a gorgeous visual directory of the handpainted patterns of silks once developed at a small British town name Spitalfields, located just north of London’s wall. In the eighteenth- century, the area of Spitalfields was an important center for European Silk weaving. The weavers there were highly-skilled, and they produced the most beautiful and expensive silks of the times. Even today, almost three centuries later, these colors and artworks look incredibly appealing and luxurious to me. I am sharing a few designs from the book.
Since the Spitalfield weavers were close to London, they were near the Royal court and the wealthy diplomats. They were very market savvy. There was a quick absorption of the latest styles. The variety of rich silks brocaded with gold and silver as seen on the portraits of royalty and nobility from the 18th century confirms the quick adeptness of the Spitalfield weavers.
Role of French Huguenots with Spitalfields Silks
The Spitalfield silks faced tough competition from the silks from France, particularly from the weaver’s based in Lyons. However, it is ironic that many silk weavers in England were French Huguenots who fled the persecution in France, and started their careers as weavers in Spitalfields.
Spitalfields Silks Designers
Spitalfields ‘ indigenous talents used different weaving techniques to produce various textile types, such as damask brocaded in colored silks or satin ground brocaded with gold threads and details in colored silks. The silk weaving supply chain had 3-4 talented professionals starting from the brilliant pattern drawers, who focused solely on creating beautiful patterns. The drawing has to be feasible to weave on the loom, too; therefore, such work demanded a thorough weaving knowledge. The other professional in the supply chain would transfer this design on a graph mapping design elements to warp and weft.
Once the technical handpainted (mostly using watercolor and ink)graph of the design was ready, then the ‘reader’ (liseuse in France) instructed the lash maker to set up the warp and weft threads on the loom, enabling the weaver to produce the desired pattern.
The Evergreen Designs of Spitalfield Silks
Over the passing of time (decades and centuries), the styles and patterns kept changing. The early 18th century patterns looked ‘Bizzare.’ because of their strange look. They evolved into the ‘Luxuriant’ phase showing nature in an ornamental and symmetric way. Soon the fashion changed, and laces became famous, simultaneously inspiring the Spitalfield silk patterns.
By 1742, they took distinct English patterns featuring local floral sprigs like carnations and auricula, which lay scattered over a pale background. They reflected the English love of gardens. The floral and spring inspirations stayed for a long time. However, there were innovations with the use of metallic silver or gold threads. Spitalfield textiles continue to have enduring appeal even today. The original textile firms that still survive often turn to their company archive to study old designs for their forever eclat.