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  • Perepuu wrap

    55.00 
    Size 70 x 200   What makes the Western Estonian shawl, traditionally called scarf, beautiful is its family tree motif that according to ancient traditions signifies happiness and the fulfilment wishes for a family. These are stories and patterns through which Ellu shawls celebrate a joyous occasion for our common home – the 100th independence day of the Republic of Estonia. The Western Estonian scarf draws its power and beauty from the family tree motif, widely cherished in Lääne County, the Western part of Estonia. This is the most widely used decoration for wedding blankets, however, its style varied from region to region. In the Lääne County, weavers used a special local technique and the tree was true to life and easily recognisable. On the island of Muhu , the wedding blankets woven at the end of the 19th century and the beginning of the 20th century were decorated using cross-stitching instead and the embroidery was very rich and expressive, fairy tale-like. The betrothed in Muhu embroidered motifs resembling trees into their blankets, decorated with multicolour leaves, songbirds, lush blooms and fruits. The hope was that these images would bring the family happiness and that all their wishes would come true. The artisans of that time especially favoured patterns featuring plants of various sorts, however, they also appreciated geometric lines. The tree motif can certainly be considered as the predecessor of the flower motif. To make sure even further that dreams would come true, the weavers decorated the top of the family tree with an octagram, a feature characteristic to Estonian folk patterns. Throughout history, the tree has been a widely used ornamental feature around the world. In handicraft arts, it has had powerful names such as the world tree, the tree of life and the tree of wishes. Estonians are a settled people that love their homeland, so this image has an additional significance – it reminds us of the ancient trees in the gardens of our farms and tells the tale of a heritage passed from generation to generation. Let this scarf and its family tree motif be a beautiful gift to all of us and remind us of what significant times we live in, and how important it is to protect our country and give each other gifts that bring good luck. The tradition of wearing shawls to cover shoulders goes back a long way. This shawl called scarf used to be considered the most valuable part of a traditional set of clothes, and it was mostly worn on special occasions. In cold weather, the scarf was worn to church or to go visit someone, but in warmer periods the scarf was worn looser, on the arms, to give a woman’s appearance that special celebratory note. Compared to other items of clothing, making a scarf required much more skill. Therefore, these shawls were cared for especially well and passed down from generation to generation, as were the skills used to make them.
  • Dimensions 145 x 180 cm 70% cotton, 30% flax   In Pärnu County, wrap from fine wool and as big as blankets were thrown across one’s arm when going to church. This is where the name comes from – On-Arm Plaid. At large, the wrap was being worn across one’s shoulders. The characteristic of Estonian folk costumes is expressed in beautiful embroidery. Pärnumaa scarf has coif embroidery with original ornament where white woollen yarn is used.
  • Paistu and Setumaa pillow-cases
  • Plaid of Muhu

    55.00 
    Dimensions 70 x 200 cm   In Muhu, unlike many other places, wrap and plaid were distinguished - wrap was bigger. Plaid was also being worn across one’s shoulders in this area. Embroidering of plaids was started before the I World War. These plaids were made by professional embroiderers. Embroidery of Muhu is peculiar and characteristic of the people of Muhu Island. The embroidery is divided into two major groups: geometric and plant pattern.The most typical, most used and the oldest geometric pattern motif is closed into an orderly octagon. This motif, that was called Muhu Whisk and was believed to be a sign of luck and rebirth, was often used on woollen plaids.You can see the whisk pattern motif on MUHU scarf.
  • Dimensions 140 x 200 cm 100% cotton In Muhu, unlike many other places, wrap and plaid were distinguished - wrap was bigger. Plaid was also being worn across one’s shoulders in this area. Embroidering of plaids was started before the I World War. These plaids were made by professional embroiderers. Embroidery of Muhu is peculiar and characteristic of the people of Muhu Island. The embroidery is divided into two major groups: geometric and plant pattern.The most typical, most used and the oldest geometric pattern motif is closed into an orderly octagon. This motif, that was called Muhu Whisk and was believed to be a sign of luck and rebirth, was often used on woollen plaids.You can see the whisk pattern motif on MUHU scarf.
  • Dimensions 35 x 180 cm 70% cotton, 30% flax Saaremaa patterns are interestingly closely related. There are similar details on coifs, sleeves and bands. Saaremaa scarf has been inspired by the band pattern of Jämaja. Band was used to fasten clothes; requisites and jewellery were attached to it. Band-making technique was well-known, young girls were already learning it. According to the technique, more common were tablet-woven band and figured belt. Tablet -woven band was long and narrow and its pattern was usually the same on both sides. I would like to thank Anita Kütt and Ulvi Põld for their help on creating the Saaremaa woollen wrap.
  • Dimensions 140 x 165 cm 100% cotton In Kihelkonna, until the mid-19th century – woollen blue and white tartan plaid persisted as a traditional shawl. Blue symbolized the sky and thinking. Checked wrap was worn across one’s shoulder. In the end of the 19th century plaids with bigger pattern were start being made. Wider plaid fabrics were start being woven and were sown together from two widths. Woven checked plaids were shrunk so that they would last several generations.
  • Dimensions 70 x 180 cm 70% cotton, 30% flax Saaremaa patterns are interestingly closely related. There are similar details on coifs, sleeves and bands. Saaremaa scarf has been inspired by the band pattern of Jämaja. Band was used to fasten clothes; requisites and jewellery were attached to it. Band-making technique was well-known, young girls were already learning it. According to the technique, more common were tablet-woven band and figured belt. Tablet -woven band was long and narrow and its pattern was usually the same on both sides. I would like to thank Anita Kütt and Ulvi Põld for their help on creating the Saaremaa woollen wrap.
  • Dimensions 105 x 180 cm 70% cotton, 30% flax Saaremaa patterns are interestingly closely related. There are similar details on coifs, sleeves and bands. Saaremaa scarf has been inspired by the band pattern of Jämaja. Band was used to fasten clothes; requisites and jewellery were attached to it. Band-making technique was well-known, young girls were already learning it. According to the technique, more common were tablet-woven band and figured belt. Tablet -woven band was long and narrow and its pattern was usually the same on both sides. I would like to thank Anita Kütt and Ulvi Põld for their help on creating the Saaremaa woollen wrap.