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 19^th 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.