Fur silk

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Hand-painted lining in a mink coat (2006)

Fur silks or fur linings are, in particular, those fabrics with a silk character that are specially made for lining fur clothing, more generally all the silk-like fabrics used for this purpose. Most fur garments that are worn with the hair facing outwards are lined with silk. It should cover the fur leather with its seams and darts as well as the inlays, increase the sliding ability when putting on and taking off, improve the fall of the garment and give it a good interior appearance.

For fur lining, the fur lining incorporated into textile clothing , see fur lining .

General

As is common in the textile sector, all lining materials similar to pure silk linings are called lining silk, but pure silk is obtained from the cocoon of the silkworm. For this reason, products made from man-made fibers may not be referred to as "silk" in the trade without a corresponding note. The linings originally made mostly from cellulosic filament yarns were traded as artificial silk , the term is now out of date. Classic fur lining silks were or are: crêpe de chine , crêpesatin , crêpe marocain, crêpe georgette , silk massée and brocade , for simpler coats still semi- silk brocades . Half silk is the name of a fabric in which the warp thread on top consists of silk after being fed in, and another fiber in the other thread direction.

The feeding of the furs is subject to the respective fashion, both in terms of color and the type of feeding.

Because of the longevity of the product, more durable linings are usually used for fur coats and jackets than the very light taffeta commonly used in the textile industry . The typical fur linings are traded through the fur ingredient trade .

History, description

Inside processing of the swan fur of the musician Clara Schumann (made before 1896)
The American actress Virginia Valli shows the lining of her ermine coat (after 1920)

In the middle of the 19th century, France and England began to work the first slightly larger pieces of fur, jackets and capes with the hair facing outwards. Since the furriers up until then mainly lined fabric parts made by tailors with fur, they probably didn't pay much attention to the textile lining of their fur parts. In the instructions for lining the new jackets made from Sealskin , a German furrier book from 1891 only mentions a “lining made of quilted silk fabric”, apparently no major effort was made. With the production of fur, which began at the end of the 19th century, mainly by the Paris company Revillon Frères , female assistants came constantly from the related tailoring profession into the fur industry, who brought with them the tailoring requirements for more artistic interior processing. From around 1900 until the 1930s a true cult of silk lining was practiced, which with the simultaneous beginning of modern fur fashion also found its way into furring: “By ruffling, by inserting ribbons, by putting on ruffles in the shape of a rococo bow, by artistic Coloring and embroidering the corners ”were so many options that“ you can't even list them individually ”.

A fur staffer wrote about it in 1957:

“The staffer’s imagination was given more leeway. The generous selection of the lining material, silk, taffeta and brocades, the versatile technique of processing, embroidery, cotton quilting, breakthrough work, braiding and the many different types of piping and frills created true works of art in silk lining.

Anyone who has ever held a piece from this time will be amazed at the craftsmanship and care that was applied to the feeding at the time. Things are very different today. The silk lining, as it is known and processed at the moment, is emphasized - yes, one might almost say, exaggerated simplicity. "

- Eva Laue

The simple elegance of an exclusive fur was often disturbed in the 1920s by annoying, eye-catching fasteners; the almost invisible clip fastener from the Keskari company had not yet been invented. Frieda Vallentin - the name suggests a connection with the wife Ruth Cidor-Citroën of the owner of the Berlin fur factory AB Citroen , a born Vallentin - wrote in 1925 about her impressions of Viennese fur fashion in a specialist magazine:

“The coat and cape, if not held, tend to fall apart. The creative fashion artist quickly picks up on this idea and gives the fur coat an interior finish that is as luxurious and rich in color as the exterior material. The brightly colored silk fabric or brocade is no longer enough, the coats are hand-embroidered on the inside, trimmed with gold braids and colored silk ribbons as borders, yes, often with small fur rolls that run around the inner hem of the coat. Silk fillers stitched into patterns are also being taken up again. A broad-tailed coat with an ermine collar showed the interior fittings of silver brocade garnished over and over with ermine tails.

The imagination is left with a lot of leeway here. The beautiful shell also calls for a beautiful core. The evening coat in particular, with the fur cape being preferred, is a pleasing object for similar fashion fantasies, as is the street coat, which is kept correspondingly simpler. But even here the endeavor to liven it up with embroidery is predominant. "

- Frieda Vallentin: Viennese chic in fur. March 2019

The fur fashion shows that took place in the Leipzig Krystallpalast from 1921 to 1926 were reported:

“In the light of the spotlights, the mannequins came down a wide, high staircase, only to transform the circus circuit and then disappear. The demonstrator stopped at the top, opened her coat wide to admire the lining, which was expensive and brightly colored brocade or bright embroidery at the time, and her own toilet at the same time. Loud 'Ah' the audience - when a beautiful girl, wrapped in tight-fitting fabric - presented herself to the glowing beam and then slowly strode down the steps. "

- Philipp Manes

However, even in 1937, colored linings were still rare: “There are also special colors for fur purposes that match the colors of the different types of fur. We have marten colors, mink brown, seal brown, black and white and gray for feh and mole . Certainly bright colors are used here and there, but these are exceptions ”.

Special attention was paid to the feeding of the fox necklaces , animal- shaped fur scarves . In 1930 a master furrier explained to his colleagues:

“The simplest way of feeding a fox is to put covers on the smooth lining all around, which are attached to the lining with various decorative stitches such as knot, chain, single and double herringbone stitches, etc. [...]. Another way is to pull 1 to 3 buttons in the middle of the silk, which should not be higher than 2 mm, and distribute the resulting folds either diagonally downwards or from the middle to both sides. Another type is pulling the silk lining sideways. For this purpose, 5 to 6 fields are divided at regular intervals and these are drawn together in heads. Instead of the heads, the silk can also be pulled off with so-called frog legs or mouse teeth. But with all these types of processing, care must be taken that both the decorative stitches and the frills are made as small as possible, since the smaller they are, the more beautiful. "

About the popular embroidery, mostly not made in his own workshop, he wrote:

“Every furrier has the opportunity to come into contact with an embroiderer. And it is precisely through this embroidery that such wonderful effects are achieved, which are definitely worth the low expenditure for it. These embroidery works best on crepe de chine and on smooth duchesse . It is a wonderful sight when a lady takes off her fur jacket or fur coat and the wonderful inner lining comes to light, which also suggests the highly qualified work and good taste of the manufacturer. Because anyone who has an artistic sense must recognize that the furrier here not only worked with wrist and elbow, but with heart and mind and using his whole personality let the piece flourish to its artistic perfection. "

- Hermann German

Very high quality ladies furs were up in the period after the Second World War in Western Europe usually with pure silk or half-silk lined. On the other hand, the cheaper and usually more durable acetate silk was used for everyday furs and for cheaper furs. The actual lining materials are woven in a loose twill weave, recognizable by the characteristic sloping ridge.

The acetate silk was first produced in 1907 in the Jülich artificial silk factory. In 1920 the Swiss René Clavel invented a dyeing process for the previously non-dyeable acetate silk and in 1921 the mass production of acetate silk began under the trade name "Celanese" by the Dreyfus brothers and their British Celanese, Ltd., followed by the opening of further production sites in the USA and in the rest of Europe (see → cellulose acetate ).

Up until around the 1990s, particularly strong lining materials were used for fur, as particular emphasis was placed on long durability. Increasingly, however, the demands changed. If, in the past, winter clothing was primarily used to warm in addition to decorating it, this increasingly faded into the background with the increase in heated means of transport. On the other hand, one of the main considerations when choosing a fur was lightness. The acetate linings, woven especially for fur purposes, weighed up to 300 grams per running meter in the single-colored, unpatterned qualities, the lighter acetate linings, which are still used today, weighed down to 180 grams, with the most common width of 140 centimeters.

As Brocade is called a Infused with metal filaments tissue. In skinning, heavy lining silk interwoven with silky flowers or other ornaments was also called this. Similar difficulties are Damastseiden that were used until the 1920s, mainly to Ausfüttern of fur: "Dama Lake - sometimes stiff as a board - but so are the elegant woman wanted her coat lining have."

Even after the 1930s, the interior processing of the furs was often more complex than that of textile women's outerwear. Some fur linings were correspondingly glamorous. Ornamental or floral border embroidery, woven borders and corner embroidery were still used until the 1990s, when they had long since disappeared from textile fashion. A monogram with the initials of the wearer usually rounded off the interior of a higher quality fur. In the years of the Second World War and the first years afterwards, due to the lack of material (especially in the GDR), the interior processing played a very subordinate role and the knowledge of "all the small, sometimes very amiable and pretty refinements of the lining “Fell into oblivion.

In Austria, where fur fashion remained on average more opulent even after the Second World War, elaborate interior work was also preserved for significantly longer than in the Federal Republic or the GDR. Up until the end of the 20th century, especially in Vienna, the furs were more lavishly worked and also equipped than elsewhere, “and anyone who wanted to train in“ dressing up ”at the beginning of the century had to go to Vienna to see master Josef Toch to learn there how to work ”. The concealed silk button placket that was once mostly present became superfluous in the 1950s after the invention of a new type of clip fastener for furs by the Keskari company . The silk vestibules with elastic bands, which were even more common in wide sleeves at the end of the 20th century, have now probably disappeared completely.

Often single-colored linings are used, the color harmonizing with the fur. These are mainly brown tones in all shades, from light beige to black-brown, as well as black and gray. Gold tones are a bit more eye-catching, for particularly extravagant parts even very conspicuous colors, such as bright burgundy red. Pure silks in particular are usually used in a single color. Often there are also shimmering colors that are created by a bobbin thread of a different color.

Popular jacquard weave patterns were and still are in part, for example linings with woven-in company logos, small-patterned floral or fur animal motifs and geometric patterns such as checks or stripes.

With the use of lighter inner linings, the furriers recently increasingly oriented themselves towards the textile industry, which provides attractive prints on synthetic fabrics . Despite their low weight, these usually have a high durability, but with poor heat exchange. For example, “animal prints”, fabrics with leopard, zebra and similar patterns, are also used to line fashionable furs in the appropriate fashion.

  • Quilted lining with a pleated inner pocket and a bow finish
    (between 1885 and 1890)

  • Jacquard Lining Fabric (USA, 1895)

  • Decoration of a stone marten stole
    (1940s)

  • Machine embroidery border (partial view, 1980)

  • Corner embroidery and monogram (around 1990s)

processing

Attractive fur lining in a model competition (2009)
Fur lining with floral print design, pocket with concealed zip and company web label (2015)

The feeding or staffing of the silk lining is the last step in the final work in the production of a fur garment, which is summarized under the term finishing . The sewing is done by hand with a default stitch , also in fur clothing, the food is has rarely been lined with a special Staffiermaschine.

Depending on the principles to be observed when cutting the lining, three basic types of fur silks are distinguished in a textbook in 1970, that was before the additional use of printed synthetic lining:

  1. unpatterned lining materials: body lining, atlas, duchesse
  2. Jaquard linings with patterns that run in one direction only, such as strip linings, borders and embroidered linings
  3. Jacquard lining with patterns that run in multiple directions.

In the case of unpatterned linings, only the direction of the thread run needs to be taken into account when cutting. For patterns that run in several directions, the pattern direction must also be taken into account. The first two linings can also be used upside down, which enables a much better use of material by sliding the body parts into one another.

Woven or embroidered borders were seen as a full substitute for the manual method of applying decorations to the silk lining through time-consuming and material-consuming cutting, sewing and staffing work. They are often traded as coupons, as prepared lining for a coat or a jacket.

In Germany at the end of the 20th century only remnants of the once so opulent interior workmanship remained. The edges of the sewn-in inside pockets were sometimes provided with small folds, or a little less elaborately decorated with a witch stitch , cross stitch or other decorative stitch; In a few companies, a silk bag, shaped into a frog's mouth , may have been sewn onto the lining. Inner pockets can be integrated lengthways in the front lining end or, as in a men's coat, can be incorporated across, each with a zipper, if necessary. The company web labels are also often attached with a decorative stitch in the detail skinning.

In the past it was almost always customary to attach or refurbish a piping between the lining and the fur hem (technical jargon: fold), today this is often omitted because of the desired lightness and softness. A diagonal strip cut from the same lining can serve as piping, which is cut diagonally to the weaving direction because of the resulting elasticity. A piping cord or another filling material that is as soft as possible can be inserted into the piping for a rounder shape. Furthermore, there was or is trimmings piping, which are either sewn as butt panels between the lining and the fur hem, or in some cases artfully braided piping to hide the lining seam.

The hem can be finished with a normal warped seam. Or it is lined openly at the bottom, formerly called "American lining", which makes the hem less rigid. For this purpose, the fur leather above the hem is usually covered with a wide strip of lining and the lining is only hemmed. Newer processing sometimes completely dispenses with the fur hem and also with covering the leather.

The hangers or handles are made individually from the lining, either sewn into a tube, flat quilted, twisted or braided. Or ready-made hangers made of artificial leather or metal chains are used. A special feature are hangers, probably mainly on furs made in Italy, where a silk ribbon was looped across the entire width of the back.

In particular with a wide step, either one or two silk tabs or a silk binding tape can be incorporated at hip height to hold the under step.

Many lining silks are suitable for adding a shawl or scarf to the fur that is the same as the lining of a coat or jacket.

Even small fur parts such as scarves, collars or fur necklaces are lined with fur on the back. Fur hats and hats are usually given simple, particularly light, wide-meshed lining.

  • Staffing

  • Rotated hanger, synthetic lining

  • Pleated neck finish (Australia)

  • "Z" Quilted company logo of the Hamburg fur designer Dieter Zoern

Producers

  • Silk borders

  • 1900

  • 1910s

The typical fur silks, acetates, semi-silks and pure silks were essentially manufactured in Germany by two companies that sold their products worldwide. It was the companies Peter Bircks & Cie. and G. Hollender Sons , both based in the silk weaving town of Krefeld . The specialization in fur silks gave the two companies a certain monopoly position in the branch. Another German lining weaving mill that also advertised the manufacture of furrier accessories was the Kurt Roesner company in Schleissheim near Munich.

Peter Bircks & Cie.

In 1863, the fur cap and hat maker Gerhard Lütten (* 1840; † March 2, 1911) and the silk weaver Peter Wilhelm Bircks († June 9, 1895) founded the later Peter Bircks & Cie. Silk weaving mill in Krefeld . At that time Krefeld was already the “city of silk weavers”. When an association against silk theft was founded there on July 16, 1861, the association included 270 silk manufacturers, appreteurs and dealers in raw silk and yarn. Peter Bircks also came from a family in Krefeld that had been weaving silk for generations and traded in silk goods and silk yarn. At that time there were no mechanical looms, neither gas nor electric light, only the first kerosene lamps.

After the silk weaving mill Peter Bircks & Co. in Rheydt was taken over by the important fur ingredient dealer Gustav Karschinierow, based in Düsseldorf, and a large warehouse or factory building was built, all with a simultaneous, unexpected decline in sales, the then owner, Uriel Karschinierow (* 3. December 1938; † July 1, 2011), son of the company's founder Gustav Karschinierow, file for bankruptcy. Peter Bircks & Co. employees continued the weaving mill for some time. In 1996 they had to give up the company for good.

G. Hollender sons

The second important, even older, fur silk weaving mill, G. Hollender & Sons , was founded in 1842 by Gerhard Hollender and Konrad Schelleckes as the Hollender & Schelleckes silk factory . The factory and the delivery of the silk yarns for the home weavers was on Nordwall 55. The Hollender company’s extensive export business at an early stage contributed to making the name “Krefeld Silk” a household name around the world.

In the 1890s, Hollender had around 250 employees, including home weavers. In line with the steadily growing volume of business, the factory was completely mechanized with the newly developed looms. At the turn of the 20th century, G. Hollender Söhne had an extensive network of distribution centers and agencies in Europe. The company had new and larger factory and administration buildings built on Weggenhofstrasse, and the new weaving mill went into operation in 1913. Shortly after the First World War, Walther Hollender took over management of the company and reestablished and expanded the European business relationships that had been interrupted due to the war.

Natural silk and rayon were woven in a variety of ways. In 1967 over 30 percent of the products were exported. A significant part of the production dealt with the manufacture of body lining silk for women and men bespoke tailoring. The main part, however, was taken by the production of fur silks, the motto of the company was “Noble silk for noble fur”.

On October 8, 2006, the G. Hollender & Sons company ceased to exist.

Web links

Commons : Fur Lining  - Collection of images, videos and audio files

Individual evidence

  1. ↑ a b Friedrich Lorenz: Rauchwareenkunde . 4th edition. People and Knowledge, Berlin 1958, p. 207 .
  2. ↑ Alfons Hofer: Textile and Model Lexicon . 7th edition, Volume 2, Deutscher Fachverlag, Frankfurt am Main 1997, keyword “Silk”. ISBN 3-87150-518-8 .
  3. ↑ a b Alexander Tuma: Pelz-Lexikon. Fur and Rough Goods, Volume XXI . Alexander Tuma, Vienna 1951, p. 150, keyword “silk feeding” .
  4. ↑ a b c Eva Laue: The interior finish . In: Das Pelzgewerbe No. 5, 1957, Verlag Dr. Paul Schöps, Berlin et al., Pp. 199-201.
  5. ↑ Paul Cubaeus: The whole of Skinning. Thorough textbook with everything you need to know about merchandise, finishing, dyeing and processing of fur skins . 1st edition. A. Hartleben's, Vienna, Pest, Leipzig 1891, p. 385 .
  6. ↑ a b c Hermann Deutsch: The modern skinning. Manual for the furrier, dyer, bleacher, cutter and garment maker . A. Hartleben`s Verlag, Vienna / Leipzig, 1930. pp. 319–322.
  7. ↑ In: The fur clothing. No. 1, March 1925, p. 34.
  8. ^ Philipp Manes : The German fur industry and its associations 1900-1940, attempt at a story . Berlin 1941 Volume 1. Copy of the original manuscript, pp. 38, 170-171 ( G. & C. Franke collection ).
  9. ↑ Without information about the author: Ingredients for fur processing . In: The Kürschnerfibel No. 2, supplement to the Kürschner-Zeitung No. 6, Verlag Alexander Duncker, Leipzig, February 21, 1938, p. 18.
  10. ↑ Alexander Tuma: Pelz-Lexikon. Fur and Rough Goods, Volume XVII . Alexander Tuma, Vienna 1949, p. 100, keyword “brocade” .
  11. ^ Philipp Manes : The German fur industry and its associations 1900-1940, attempt at a story . Berlin 1941 Volume 2. Copy of the original manuscript, p. 23.
  12. ^ Philipp Manes : The German fur industry and its associations 1900-1940, attempt at a story . Berlin 1941 Volume 2. Copy of the original manuscript, p. 230 ( G. & C. Franke collection ).
  13. ↑ Eva Laue: The interior finishing . In: Das Pelzgewerbe No. 6, 1957, Verlag Dr. Paul Schöps, Berlin et al., P. 258.
  14. ↑ Alexander Tuma jun: The practice of the furrier . Published by Julius Springer, Vienna 1928, p. 211.
  15. ↑ a b c d e collective of authors: Manufacture of tobacco products and fur clothing . VEB Fachbuchverlag Leipzig 1970, pp. 414–416, 418–420, 456–468. → Table of contents .
  16. ↑ Winckelmann Fachadressbuch No. 74, 1996, p. 224.
  17. ↑ kompany.com ( Memento of June 17, 2018 in the Internet Archive ): Hollender limited liability company . Retrieved October 23, 2017.