-
-
-
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.
-
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.
-
Dimensions 70 x 200 cm 100% cotton In South Estonia, festive woollen rectangle wrap, worn across one’s shoulders, was the most respectable garment. The most common element of Setu patterns - square - is usually shaped into bigger ornaments. Also, cross-figure is often used as a pattern or as a background. Square developed from a circle that is a symbol of infinity, perfection and universe; it is a symbol of balance - relationship between the heaven and the earth. From the few elements mentioned above and few techniques used a lot of different patterns were derived, showing the talent and creativity of the people. Despite the fact that red occurred the most in other areas as well, Setu embroidery has a lot in common with the Eastern neighbors. However, the motifs are totally different. Red symbolized earth, love, fire, blood and emotionality. Setumaa scarf has the motifs of back-cloth.
-
A small description of horseshoe brooches:
Wise men say that brooches have been used to fasten clothes for more than 3000 years. The first brooches are thought to be forms of vaulted brooches from the Mediterranean area that date back to around the late 2nd millennium BC, ensuing from the development of fasteners (pins). It was initially a practical item to fasten clothes but soon it was carrying the function of an adornment, it gained popularity and the use of it spread. The first items that bare the similarity to later horseshoe brooches were taken into use around 2000 years ago in the outreach of Provincial Rome. It is known that the first Estonian horseshoe brooches originate from Viru County balustrade tomb. The peak of its popularity lasted from the 8th to the 13th century but they were being worn until the 17th century. Archaeologists have done a great job and found multiple brooches among which the ones in a good shape originate from burials or hidden findings. When found broken, it could have been the case of vandalism or fire burial.
People are often interested if there were any differences between the men’s and women’s brooches or what the different patterns meant and how the brooches were being worn – heels up or down. It is difficult to truly analyze these patterns as the early wearers of the brooches have been dead for around 1000 years and more, and unable to answer these questions. It is also extremely difficult to make clear distinction between men’s and women’s brooches based on the findings – sometimes we know that the finding belonged to a man or a woman based on the other items along but both genders usually wore the same brooches as it was a daily used fastener. However, based on the findings, it is known that brooches were being worn heels upside.
+ Näita rohkem
