These shawls were certainly less expensive than the Indian or
European woven shawls. However it is necessary to
differentiate the printed shawls of highest quality made for
the fashion boutiques in Paris , from a production of rustic
shawls for rural customers.

The
designers and manufacturers from Alsace very quickly were
interested in this new kind of products. At first they adopted
the paisley pattern for the decoration of their shawls. Turkey
red and Lapis blue dying process was particularly suitable for
the production of cashmere shawls. Since 1837
the manufacturers also start to print on wool for shawls and
yard goods.

On
the basis of the shawl collection, drawings and pattern books
of the Museum we were able to establish an chronology of the
shawls. We also were able to identify with certainty the date
and origin of some of our shawls.But the absence of a
signature often allows only an analogous identification. The
shawls which survived to this day only give an incomplete idea
of the production in Alsace of the 19th
century.
The
numerous drawings and samples preserved in fragments testify a
diversified production concerning motives and
styles.Steinbach-Koechlin, Thierry-Mieg, Hofer-Grosjean
printed mainly wool fabrics meant for dresses, dressing gowns
and ties. The main pattern for all these products was the
paisley pattern.In the first years of the second empire the
production of the shawls reached its peak but than the
manufacturers confined to an uniform style which led to a
decline.

Christian Lacroix and Beauvillé company collaborate to this big
event in decorating with their specific style different places
in the Museum. They will provide you some great surprises during the
exhibition.
You
can buy the catalogue of the exhibtion (ID' Editions) for 28
euros (without transport fees). For all informations, please
contact us to
info@musee-impression.com or call us to 00 33
(0)3 89 46 83 00.