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Shawl

A shawl is a versatile garment, typically square, rectangular, or triangular in shape, worn loosely over the shoulders, neck, or head for warmth, protection, or adornment, and historically associated with women's fashion across various cultures.^[1]^[2] The term "shawl" derives from the Persian word shāl, denoting a type of cloth used in Asia, which entered European languages in the 1660s via Urdu and was initially adopted as an article of dress for the upper body before evolving into a draped women's accessory by the early 18th century.^[3] Shawls trace their origins to ancient textile traditions in regions like Assyria and the Middle East, where they served practical purposes, but gained prominence in South Asia under Mughal patronage from the 16th century onward, with floral motifs introduced during Emperor Akbar's reign (1556–1605).^[4]^[5] Notable for their luxurious materials and craftsmanship, shawls from Kashmir—woven from fine pashmina wool sourced from the undercoat of Himalayan goats—emerged as a symbol of elite status, prized for their lightweight warmth, softness, and intricate twill-tapestry patterns that could take years to produce.^[6]^[7] These textiles spread globally through trade routes, reaching Europe in the late 18th century via East India Companies, where they inspired imitations like Paisley shawls in Britain and France, featuring the iconic teardrop-shaped boteh motif and mechanized production during the Industrial Revolution.^[2]^[8] Beyond Kashmir variants, shawls encompass diverse types including knitted wool pieces from regions like Shetland or Orenburg, embroidered silk examples from China, and protective wool wraps in Mexican or Native American traditions, reflecting adaptations in materials such as cashmere, cotton, or lace to suit climatic, cultural, and fashionable needs.^[9]^[10] Today, shawls remain a staple in global wardrobes, blending historical elegance with modern versatility.^[1]

Etymology and Definition

Origins of the Term

The word "shawl" originates from the Persian term shāl (شال), denoting a folded cloth or garment worn over the shoulders or as a wrap.^[3]^[11] This Persian root, which refers to a type of woven fabric rather than a specific article of clothing, dates back to at least the medieval period in Persian usage, with the earliest documented English adoption occurring in 1662.^[11]^[12] The term's linguistic evolution reflects broader Indo-Iranian connections, ultimately tracing to Sanskrit śāṭī (शाटी), meaning a strip of cloth or wrap, which influenced Persian through shared cultural exchanges.^[13] Cognates appear in Arabic as shāl (شال), signifying a mantle or outer garment, highlighting the word's spread across Middle Eastern and South Asian languages.^[14] In Urdu and Hindi, it appears as shāl (شال or शाल), serving as a direct intermediary for its transmission to European tongues.^[14] European languages adopted "shawl" primarily through 17th- and 18th-century trade routes, entering English via Hindi and Urdu during interactions with Asian commerce, and gaining popularity amid British colonial expansion in India.^[3] From English, it influenced French châle, Spanish chal, and Italian scialle, all denoting similar shoulder coverings.^[3] In Persian literature of the Mughal era, such as medieval Indian Persian texts, shāl frequently referenced luxury woven items symbolizing status and refinement.^[12] This term found early application to renowned Kashmiri shawls, exemplifying its association with high-quality textiles.^[15]

Characteristics and Distinctions

A shawl is defined as a simple, loose-fitting garment consisting of a rectangular, square, or triangular piece of fabric, typically draped over the shoulders, head, or upper body for warmth, protection, or adornment.^[16]^[17] Unlike structured clothing such as coats, shawls lack closures like buttons or zippers, relying instead on the wearer's arrangement to secure them in place.^[16] This open design allows for versatility in styling, where the fabric can be folded diagonally into a triangle for head coverage or wrapped symmetrically across the torso.^[18] Typical shawls measure approximately 30 to 45 inches (76 to 114 cm) in width and 70 to 85 inches (178 to 216 cm) in length, providing ample coverage for the upper body while remaining lightweight and portable.^[19] A common feature is fringed edges along the borders, which add decorative flair and prevent fraying, though not all shawls include this detail.^[4] These dimensions and forms enable shawls to adapt to various body types and cultural practices without requiring tailoring. Shawls differ from related accessories in form and function: scarves are narrower and shorter, usually 20 to 30 inches (51 to 76 cm) wide and 60 to 70 inches (152 to 178 cm) long, designed primarily for wrapping around the neck rather than broad shoulder coverage. Stoles, often considered a formal variant of shawls, are longer and slimmer—typically 20 to 30 inches (51 to 76 cm) wide and 70 to 80 inches (178 to 203 cm) long—suited for elegant draping over evening attire without fringes in many cases. In contrast, ponchos feature a central opening or slit for the head, transforming them into a hooded, blanket-like cover that encases the torso, unlike the fully open drape of a shawl.

History

Ancient and Medieval Origins

The earliest known depictions of shawl-like draped cloths appear in ancient Egyptian tomb art from the Middle Kingdom period, around 2000 BCE, where lightweight linen sheets were used as versatile wraps for both daily wear and ceremonial purposes.^[20] These artifacts, often found in burial contexts, illustrate how such garments provided modesty and protection in the hot climate, with fine pleating and edging techniques evident in surviving examples.^[20] In Mesopotamia, archaeological evidence from approximately 2500 BCE reveals the use of woven woolen fabrics for wrap-style garments, marking a shift from earlier sheepskin coverings to more structured textiles with tufted details for added warmth and decoration.^[21] Similarly, in the Indus Valley Civilization during the same era (c. 2600–1900 BCE), advanced spinning and weaving produced woolen and cotton wraps, as indicated by impressions on pottery and terracotta figurines showing draped attire, reflecting early organized textile production.^[22] Ancient Greek and Roman societies employed linen and wool for shawl-like outer garments, particularly among women; the Roman palla, a rectangular woolen or linen mantle draped over the tunic, was worn by matrons and frequently depicted on statues of deities such as Venus to symbolize modesty and status.^[23] During the medieval period, shawl traditions developed in Persia from the Sasanian era (c. 3rd to 7th centuries) and extended into the early Islamic world, where silk imports via the Silk Road facilitated luxurious woven wraps often featuring intricate patterns and used in elite attire.^[24]^[25] These Persian influences extended to the Byzantine Empire, where silk shawls with gold threads and pictorial motifs became status symbols in courtly and ecclesiastical settings by the 10th–12th centuries, as seen in surviving textile fragments.^[26] In the emerging Ottoman Empire from the 13th century, similar silk shawls integrated into layered ensembles, blending Persian techniques with local adaptations for both men and women.^[27] On the Indian subcontinent, Vedic texts from around 1500 BCE reference upper-body wraps known as adhivasa or uttariya, simple draped cloths of cotton or wool worn over lower garments for protection and ritual significance.^[28] By the 11th century, Kashmiri weaving traditions had developed specialized shawl production using fine wool, with literary mentions of embroidered and twilled varieties traded regionally, laying the foundation for later renowned pashmina techniques.^[29] The Persian term shāl, denoting a fine woolen wrap, first emerges in medieval literature around this time, influencing nomenclature across Persianate cultures.^[15]

Early Modern and Colonial Expansion

During the 16th to 18th centuries, the Mughal Empire significantly elevated the status of Kashmiri shawl weaving through imperial patronage, transforming it into a prestigious craft renowned for its intricacy and luxury. Following Akbar's conquest of Kashmir in 1586, the emperor demonstrated a keen personal interest in local textiles, particularly the twill-tapestry technique known as kani weaving, which produced fine shawls from pashmina wool.^[30] Akbar commissioned elaborate designs, fostering innovation and integrating Persian aesthetic influences, such as the curved buta motif, into Kashmiri patterns.^[31] This support extended under subsequent rulers like Jahangir and Shah Jahan, who continued to sponsor weavers and export shawls as symbols of imperial refinement, solidifying Kashmir's role in regional trade networks along Central Asian routes.^[30] Kashmiri shawls began reaching Europe in the early 17th century through maritime trade routes dominated by Portuguese and Dutch merchants, who transported Asian textiles as luxury commodities. Dutch East India Company records and contemporary accounts, such as a 17th-century French description from Amsterdam, document the arrival of embroidered shawls valued for their softness and detailed motifs, initially appealing to elite collectors.^[32] By the 1660s, the French term "châle" had emerged, borrowed from the Persian shāl via Urdu and Hindi, reflecting the linguistic traces of this transcontinental exchange.^[3] These early imports, though limited in volume, sparked fascination among European nobility, positioning shawls as exotic markers of wealth and cultural sophistication. Colonial expansion amplified the trade in Kashmiri shawls, with the British East India Company (EIC) establishing formalized export channels to Britain by the mid-18th century, routing shipments through ports like Surat and Madras. The EIC's monopoly on Anglo-Indian commerce facilitated the influx of thousands of shawls annually, catering to a growing demand among British aristocracy and influencing fashion trends.^[2] This surge prompted local imitation efforts; in Norwich, England, around the 1770s, weavers adapted Kashmiri techniques using wool and copperplate printing to replicate paisley-like patterns, creating affordable alternatives that democratized the style while underscoring colonial economic dependencies. Persian and Ottoman influences further shaped shawl culture during this era, with Kashmiri pieces serving as high-value diplomatic gifts in royal courts, symbolizing alliance and prestige. In Safavid Persia, shawls woven with the iconic buta— a teardrop-shaped motif rooted in ancient Zoroastrian cypress tree symbolism—were exchanged among elites, their patterns evolving through cross-cultural exchanges with Mughal artisans.^[33] Ottoman sultans similarly incorporated these textiles into gift protocols from the 16th century onward, as treasury inventories reveal shawls from Kashmir and Persia distributed to envoys and allies, blending Eastern motifs with imperial diplomacy.^[34] This practice not only disseminated the emerging paisley pattern westward but also reinforced shawls' role as conduits of political and aesthetic exchange across empires.

19th Century Popularity and Victorian Influence

Following the Napoleonic Wars, shawls emerged as prominent status symbols among European elites, particularly through the importation of luxurious Kashmiri varieties that signified wealth and exotic taste. Empress Joséphine of France amassed a renowned collection of over 200 such shawls, many gifted by Napoleon during his campaigns, which significantly boosted their popularity in early 19th-century France and beyond.^[35] These imports, often featuring intricate paisley-like motifs known as boteh, were initially traded via colonial routes from India, transforming shawls from utilitarian wraps into fashionable essentials for the upper classes.^[36] During the Victorian era, shawl designs evolved to accommodate broader silhouettes and evening attire, with sizes expanding to up to five feet square by the 1840s to drape elegantly over crinolines and hoop skirts.^[37] In Britain, the town of Paisley in Scotland became the epicenter of mass production starting in the 1820s, where mechanized looms replicated Kashmiri patterns using wool and silk blends, making these once-elite items more accessible to the middle class through the 1860s.^[38] The distinctive paisley motif, adapted from Persian and Indian influences, adorned these larger shawls, which were prized for both day and evening wear, often featured in portraits of Queen Victoria herself.^[2] The economic ramifications were profound, as European mechanization in centers like Paisley led to a sharp decline in handwoven Kashmiri imports by the late 19th century, undercutting the artisanal trade from India due to cheaper, faster production methods.^[39] This shift not only democratized shawl ownership but also embedded them in Victorian literature, where Charles Dickens evocatively described modest "poor little shawls" on working-class women, contrasting them with the opulent wraps of the affluent to highlight social divides.^[40] Across the Atlantic, shawls gained traction in American fashion by the 1840s, particularly in the Southern United States, where European immigrants introduced European-style cashmere and paisley varieties that complemented regional tastes for elaborate evening ensembles.^[41] These imports and imitations, arriving via transatlantic trade, became staples among Southern elites, blending Old World elegance with emerging American consumerism.^[41]

20th Century to Contemporary Developments

In the early 20th century, shawls experienced a decline in popularity as women's fashion shifted toward tailored coats and rising hemlines, reducing the need for draped outerwear that had been prominent in Victorian styles.^[42] This trend continued into the 1920s, when structured garments and shorter skirts further marginalized traditional shawls in everyday Western wardrobes. However, a brief resurgence occurred during the flapper era, where shawls proved practical for the era's transportation demands, such as open automobiles, and complemented sheer evening fabrics like early rayon.^[43] By the mid-20th century, the 1960s and 1970s hippie movement revived interest in ethnic shawls, incorporating loose, flowy kimono-style wraps inspired by Asian influences to embody anti-fashion ideals and cultural harmony.^[44] From the late 20th century onward, shawl production emphasized sustainability and ethical practices, with fair-trade initiatives for pashmina emerging post-2000 to ensure fair wages and preserve artisanal skills amid global trade pressures.^[45] In 2008, Kashmiri Pashmina received a Geographical Indication (GI) tag from the Indian government, protecting its traditional production methods and authenticity against imitations.^[46] Digital printing technologies, developed in the 1990s, enabled custom designs on shawls by allowing direct inkjet application of intricate patterns onto fabrics like silk and wool.^[47] Globally, UNESCO's Silk Road Programme highlighted Kashmiri shawl weaving traditions in the 2010s, promoting cultural preservation, though fast fashion's mass production has challenged traditional crafts by prioritizing cheap synthetics over handwoven quality.^[48]^[49]

Materials and Construction

Fibers and Fabrics

Shawls are primarily crafted from natural fibers valued for their insulating qualities and versatility. Wool, derived from sheep or goats, has been a foundational material since ancient times, with evidence of woolen wraps used in Mesopotamia for protection against harsh weather.^[50] Cashmere originates from the fine undercoat of Himalayan goats, providing exceptional softness and warmth.^[51] Pashmina, a premium subset of cashmere, comes specifically from the undercoat of Changthangi goats native to the high altitudes of Ladakh and Kashmir, known for its ultra-fine fibers measuring 12-14 microns in diameter.^[52] Silk, produced by mulberry silkworms, adds a lustrous sheen and is often incorporated for its smooth texture.^[53] These fibers exhibit distinct properties that enhance shawl functionality. Wool and cashmere offer superior warmth; for instance, pashmina provides eight times the insulation of sheep wool on an equal weight basis, making it ideal for lightweight yet protective garments.^[54] Durability is another key attribute, with high-quality cashmere shawls lasting decades under proper care due to the resilient structure of the fibers.^[55] Additionally, these materials demonstrate strong dye absorption, allowing for vibrant, long-lasting patterns—pashmina, in particular, absorbs dyes more effectively than standard wool, contributing to the intricate designs seen in traditional shawls.^[56] In addition to pure natural fibers, shawls often incorporate other fabrics for varied applications. Cotton and linen provide breathability and lightness, suitable for warmer climates, while blends such as wool-silk combine insulation with elegance and drape.^[57] Modern shawls frequently use synthetic alternatives like acrylic and viscose, which mimic the feel of natural fibers at a lower cost but may lack comparable longevity.^[58] Sourcing these materials raises important considerations. Kashmiri pashmina received a Geographical Indication (GI) tag from the Indian government in 2008, certifying its authentic origin and traditional processing to protect against counterfeits.^[59] However, cashmere production in Mongolia, the world's second-largest supplier, has led to ethical concerns, including overgrazing by expanding goat herds that degrade grasslands—an issue highlighted in reports since the 2010s amid climate pressures, with ongoing sustainability initiatives as of 2023 aiming to mitigate land degradation.^[60]^[61]

Production Techniques

Shawl production encompasses a range of techniques that transform raw fibers into finished garments, emphasizing intricate craftsmanship for both traditional and contemporary applications. Weaving remains a foundational method, particularly for high-density textiles like Kashmiri shawls, which are created using handloom twill weaves to achieve exceptional fineness and durability.^[62] In this process, artisans employ tapestry twill techniques, where supplementary weft threads interlace with the ground weave to form elaborate patterns, often requiring multiple weavers to collaborate on large pieces over extended periods.^[62] The introduction of Jacquard looms in the 19th century revolutionized paisley shawl production, enabling automated control of warp threads to replicate complex motifs with greater efficiency.^[63] Originating in France around 1801, these looms were adopted in centers like Paisley, Scotland, by the 1820s, allowing for the mass replication of intricate Kashmiri-inspired designs in wool and silk blends without the labor-intensive manual selection of threads.^[64] This mechanization reduced production time while maintaining pattern precision, facilitating wider accessibility of shawls as fashion items.^[63] Knitting and crocheting offer versatile alternatives for lightweight, patterned shawls, with Estonian Haapsalu lace shawls exemplifying delicate hand-knitting traditions. These shawls are constructed in three parts—a central panel, a border, and nupps (small bobbles)—using fine lace-weight yarn to create intricate floral motifs and scalloped edges.^[65] The technique involves frequent yarn-overs and decreases for lace openness, often worked in the round or flat, with the border sewn on afterward for a seamless finish.^[66] Machine knitting, by contrast, supports mass production through automated patterning, producing uniform shawls with programmed designs for commercial scales.^[67] Other methods include felting, as seen in Kashmiri Namda pieces adapted as shawls, where wool fibers are matted together using moisture, soap, and mechanical pressure to form a dense, non-woven fabric. The process begins with cleaning and layering raw wool on a mat, followed by repeated beating and rolling to interlock fibers, resulting in a durable, insulating material suitable for wearable forms.^[68] Embroidery techniques, such as Ari work on wool bases, add decorative layers post-construction; artisans use a hooked needle (ari) to chain-stitch fine motifs like florals or paisleys onto the fabric surface, enhancing aesthetic depth.^[69] Essential tools and processes underpin these techniques, starting with spinning wheels like the charkha for preparing fine yarn from fibers such as pashmina.^[70] Traditional dyeing employs natural sources, including indigo for blues and madder root for reds, applied via mordanting and immersion to achieve colorfast results on protein fibers.^[71] Modern digital looms build on these foundations, integrating computer controls with Jacquard mechanisms to program intricate patterns for shawl weaving, blending artisanal precision with scalable output.^[72]

Types of Shawls

South Asian Varieties

South Asian shawls encompass a rich tradition of handcrafted textiles from the Indian subcontinent, particularly Kashmir and southern regions, valued for their intricate weaves, fine materials, and cultural motifs. These varieties often utilize local fibers like pashmina wool and silk, employing techniques such as twill weaving and tapestry to create durable yet lightweight garments for warmth and adornment.^[7]^[73] Kashmiri shawls, originating from the Himalayan region with an organized weaving industry from the 15th century, are renowned for their fine wool twill construction and characteristic paisley, or buta, motifs depicting stylized floral and pine cone patterns. Handwoven using pashmina, the soft undercoat of the Changthangi goat, these shawls result in exceptionally light and warm fabrics. The weaving process involves a double-interlock twill technique, allowing for reversible designs without slits, and often incorporates intricate all-over patterns known as jamawar.^[7]^[74]^[75]^[76] Pashmina shawls represent the pinnacle of Kashmiri craftsmanship, derived from ultra-fine underwool fibers measuring 12-16 microns in diameter, which provide superior softness, luster, and insulation. These shawls are categorized into types such as kani (patterned with brocade-like motifs using wooden sticks for color insertion) and do-shalla (double-sided, woven with twin warps and wefts for identical reversible patterns). The kani weave, a form of double interlock slit tapestry twill, enables complex, carpet-like designs in vibrant colors, traditionally following coded patterns called talim to guide weavers. In modern production, Kashmiri pashmina has been protected by Geographical Indication (GI) tagging since 2008, addressing ethical sourcing concerns for Changthangi goats.^[77]^[73]^[78]) Other notable varieties include jamawar shawls, which blend silk and wool in figured weaves to produce richly patterned textiles with floral and paisley elements, often used as yardage for robes or wraps. In southern India, kalamkari shawls feature block-printed or hand-painted cotton fabrics treated with mordants and resists to create detailed narrative scenes, botanical motifs, and mythological figures in earthy tones. Regional adaptations, such as those worn with the Kashmiri phiran (a loose woolen robe), emphasize embroidered shawls with chain stitches and floral designs for everyday warmth, while kanjeevaram silk shawls from Tamil Nadu showcase lustrous mulberry silk woven with gold zari borders and temple motifs, prized for ceremonial use.^[75]^[79]^[80]

European and Western Varieties

European shawl varieties emerged prominently in the 19th century, influenced by colonial trade that introduced Asian designs to Western markets.^[81] Paisley shawls, named after the Scottish town of Paisley, represented mass-produced imitations of intricate Kashmiri shawls from India.^[82] These were woven primarily from wool and silk using Jacquard looms, which were invented in 1804 and first adopted in Paisley during the 1820s, enabling efficient replication of complex patterns like the characteristic teardrop motifs or boteh.^[83] By the mid-19th century, Paisley had become the primary European center for such machine-woven reproductions, making these shawls more affordable and accessible to a broader Western audience compared to the labor-intensive Kashmiri originals.^[81] Manila shawls, originating from Chinese silk production in the south of China, were exported via the Philippines to Spain and Latin America during the 18th and 19th centuries.^[84] These square silk pieces featured elaborate embroidery along the edges, often with floral, bird, or fantastical motifs in silk threads and sometimes sequins, reflecting a blend of Chinese craftsmanship and Spanish colonial tastes.^[85] The name derives from Manila, the key trading port in the Philippines through which these shawls were shipped across the Pacific to Europe, where they gained popularity as elegant accessories.^[86] Victorian shawls in Britain and Europe typically served as wool or cashmere evening wraps, designed to drape over the expansive crinolines and bustles of the era.^[87] Often fringed for added elegance, these shawls were either imported genuine cashmere from India or more commonly European imitations produced in mills, providing warmth and a luxurious finish to formal attire.^[41] The fringe, usually long and knotted, enhanced their visual appeal when worn over shoulders during evening events.^[88] In modern Western fashion, shawls have diversified to include affordable acrylic knit varieties, which offer lightweight warmth and versatility for everyday wear.^[89] Designer pieces, such as the Hermès silk carré, exemplify high-end innovation; introduced in 1937 by Robert Dumas, these 90 cm square silk scarves feature artist-designed prints and have become iconic accessories, often tied as neckwear or wraps.^[90]

Other Global Variations

In East Asia, traditional silk shawls from China often feature intricate cloud motifs symbolizing auspiciousness and imperial authority, woven or embroidered during the Ming and Qing dynasties using fine mulberry silk for lightweight, lustrous garments that draped over robes or served as ceremonial covers.^[91] These patterns, resembling ethereal clouds in vibrant colors, reflected cosmological themes and were produced in regions like Suzhou, influencing broader textile exports.^[92] In Japan, the haori functions as a light kimono wrap, a hip-length jacket worn over formal attire since the Edo period (1615–1868), typically crafted from silk or cotton with subtle patterns and tied with a cord, evolving from samurai outerwear to a versatile garment for both men and women in social settings.^[93] Its design emphasizes modesty and seasonality, with women's versions featuring longer sleeves for elegance.^[94] Across Africa, the Ethiopian netela is a lightweight shawl made from plain-woven white cotton gauze, measuring about two meters in length, traditionally draped over the shoulders or head for modesty and protection during religious ceremonies or daily wear among Amhara communities.^[95] Its airy texture, achieved through a gauze weave, allows breathability in highland climates and has been a staple since at least the 19th century, often bordered with colored threads for distinction.^[96] In Morocco, the haik serves as an enveloping outer wrap for women, a large rectangular fabric of wool, silk, or blended yarns—typically six meters long and two meters wide—dyed in neutral tones like white or cream to symbolize purity and status, with origins tracing to Berber traditions adapted during the Islamic era.^[97] Worn by urban women until the mid-20th century, it was secured with a belt and headscarf, reflecting influences from Ottoman and Andalusian trade.^[98] In Latin America, the Mexican rebozo emerged as a fringed shawl in the 16th century, blending indigenous weaving with Spanish colonial introductions via Manila galleons, crafted from cotton or silk yarns in lengths of two to three meters with knotted fringes for versatility in carrying loads or adorning attire.^[99] Its ikat or jaspe patterns, often in bold geometrics or florals, highlight regional variations like those from Santa María del Río, symbolizing mestizo identity and worn across social classes.^[100] Among Andean peoples of Peru, Bolivia, and Ecuador, the aguayo is a square woven wool cloth, approximately one meter per side, used as a bundle carrier for infants, goods, or offerings, featuring symmetrical motifs in natural dyes that encode community symbols and cosmology from pre-Columbian times through colonial adaptation.^[101] Handloomed on backstrap looms, it remains integral to Aymara and Quechua rituals, with red and blue hues denoting fertility and earth.^[102] Other global examples include the Sámi traditional costume, known as gákti, from Scandinavia, where shawl-like elements such as the liidni shawl form part of the tunic ensemble worn by indigenous Sámi in northern Norway, Sweden, Finland, and Russia, crafted from wool or reindeer hide with embroidered bands in red, blue, and yellow to signify regional clans and marital status, rooted in nomadic herding practices since medieval times.^[103] These accessories, draped or tied, preserve cultural resilience amid assimilation pressures.^[104] In the Pacific Islands, tapa cloth wraps, beaten from mulberry or fig bark into thin sheets, serve as non-woven shawls or skirts across Polynesia and Melanesia, with historical use dating to 3000 BCE for body adornment, ceremonies, and trade, often painted with geometric motifs using natural pigments.^[105] Tongan and Fijian variants, like ngatu, emphasize communal production and gifting, embodying social hierarchies.^[106]

Uses and Cultural Significance

Practical and Functional Roles

Shawls serve essential practical roles in providing warmth and protection across diverse climates. In cold regions such as the Himalayas, pashmina shawls, crafted from the undercoat of Capra hircus goats, offer superior insulation due to their hollow fiber structure, which traps air and retains body heat effectively during harsh winters.^[107] This lightweight yet warm material has been traditionally used by locals to shield against sub-zero temperatures and high-altitude winds.^[108] Similarly, in extreme cold environments, wool shawls made from merino or other dense fibers provide layered insulation, preventing heat loss while allowing moisture wicking to maintain comfort during prolonged exposure.^[109] In arid desert areas, shawls function as barriers against intense sunlight and environmental hazards. Among Bedouin and Middle Eastern nomadic groups, keffiyeh-style shawls, typically woven from cotton, drape over the head and shoulders to block ultraviolet rays, reduce sunburn risk, and offer shade in temperatures exceeding 40°C (104°F).^[110] These garments also protect against blowing sand and dust storms, creating a breathable shield that facilitates mobility in harsh, dry conditions.^[111] The versatility of shawls extends to multiple everyday functions beyond climate protection. In various African cultures, such as those in Tanzania and Kenya, lightweight cloth shawls like the kanga are tied around the body to securely carry infants on the back or hip, allowing mothers to perform daily tasks while keeping babies close and supported.^[112] Additionally, modern shawls often double as travel wraps on airplanes or trains, offering a compact layer for sudden temperature drops or rest.^[113] Durability varies by material and construction, influencing shawls' suitability for frequent use. Contemporary machine-washable shawls, often made from synthetic blends or treated cottons, withstand regular laundering without shrinking or fading, making them ideal for active lifestyles.^[114] In contrast, delicate silk or pure pashmina varieties require gentle hand-washing or dry cleaning to preserve fiber integrity and prevent damage from agitation.^[115] Adaptations in fiber choice enable shawls to suit specific environmental demands. For tropical regions with high humidity, lightweight cotton shawls promote airflow and absorb sweat, keeping wearers cool without adding bulk during daily activities.^[116] In polar or subarctic conditions, heavier wool shawls can be layered over base garments for enhanced thermal regulation, their natural lanolin content repelling moisture from snow or rain.^[117] In the 1970s, shawls emerged as a key element of bohemian fashion trends, particularly on runways and through celebrity influence, embodying a free-spirited aesthetic inspired by hippie culture. Designers like Margi Kent crafted fringe shawls for icons such as Stevie Nicks, who paired them with chiffon skirts and velvet dresses to evoke a mystical, nomadic vibe that dominated the era's wardrobes.^[118] This style extended to broader runway revivals, where shawls were layered over flowing maxi dresses and paired with ethnic prints, reflecting a cultural shift toward eclectic, global influences in Western fashion.^[119] Celebrity endorsements further elevated shawls' fashion status, with figures like Grace Kelly popularizing luxurious, draped accessories that blurred the line between scarves and shawls in high-society circles. Kelly's affinity for silk pieces from brands like Hermès, often tied elegantly over the shoulders or head, inspired generations of women to adopt shawls as versatile emblems of refined elegance.^[120] Although specific references to a "Log Cabin quilt shawl" in her wardrobe are anecdotal, her overall embrace of quilted and patterned wraps underscored shawls' role in bridging casual and couture aesthetics during mid-20th-century style evolutions.^[120] Shawls have long carried profound symbolism, particularly as markers of status in historical courts. In Mughal India, finely woven Kashmir shawls were prized possessions reserved for emperors, nobility, and harems, serving as diplomatic gifts that signified prestige and refined taste among the elite.^[121] These textiles, often featuring intricate botanical motifs, transcended mere clothing to become emblems of imperial power and cultural exchange within the court's opulent milieu.^[122] In Victorian Europe, shawls symbolized grief and social propriety, especially through mourning veils that widows wore to publicly express loss. Black crêpe shawls, machine-woven from silk and wool, were essential for middle- and upper-class women during periods of deep mourning, adhering to strict etiquette that dictated their use for up to two years following a spouse's death.^[123] This practice reinforced communal rituals of remembrance, with the somber fabric acting as a visible barrier against societal gaiety while honoring the deceased.^[124] Socially, shawls have been intrinsically linked to gender associations, predominantly as feminine attire that accentuated women's roles across cultures. From the 14th century onward in Europe, shawls were staples in women's wardrobes, evolving into essential accessories for enhancing modesty, elegance, and social standing by the 19th century.^[125] In indigenous communities, such as among the Navajo, shawls form part of traditional regalia that expresses ethnic identity and spiritual heritage, with woven designs symbolizing balance, resilience, and ancestral stories passed through female weavers.^[126] These garments, draped over velvet blouses and skirts, affirm cultural continuity and communal pride in ceremonies.^[127] In contemporary contexts, shawls continue to embody symbolism through activism and sustainability. The Palestinian keffiyeh, often worn as a shawl, has become a global icon of resistance and national identity, adopted by protesters since the 1930s Arab revolt and popularized by figures like Yasser Arafat in the 1960s.^[128] Its black-and-white pattern, representing olive branches and fishnets, signals solidarity with Palestinian causes in fashion-forward activism on runways and streets.^[129] Meanwhile, sustainable fashion movements highlight shawls made from ethical sources like Himalayan wool, supporting artisan communities in India through fair-trade practices that prioritize environmental stewardship and cultural preservation.^[130] Brands producing handwoven pashmina shawls exemplify this shift, reducing waste and promoting longevity over fast fashion disposability.^[131]

References

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Nineteenth Century Wool Paisley Shawl - National Park Service
Apr 4, 2017 · The eighteenth century saw the birth of the shawl as a fashion garment. ... Shawls are a popular wrap in women's clothing today. They are ...
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[PDF] From India to Europe: The Production of the Kashmir Shawl and the ...
In the popular imagination, any garment worn around the shoulders or neck, linked aesthetically to Kashmiri textile weaving, if often called a Kashmir shawl.
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Shawl - Etymology, Origin & Meaning
Originating in the 1660s from Urdu and Persian, "shawl" means an article of dress worn in Asia, later adopted in Europe as a women's garment.Missing: types credible
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Shawl | V&A Explore The Collections
Dec 23, 1999 · Kashmir shawls have a long history of courtly popularity. The Mughals strongly supported production and introduced the first floral motifs ...
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Indian Shawls in America | Smithsonian Institution
The display traces the popular history of shawls—from its beginning in India to its fashion success in America in the 18th century.
[6]
The Deep Origins of Kashmir Shawls, Their Broad Dissemination ...
The unique fabric originated in Tibet: pashmina from the underbelly of the mountain goat. The shawl was strong, lightweight, and warm.Missing: definition | Show results with:definition
[7]
Cashmere shawls - Smarthistory
For centuries, handwoven cloth from the Kashmir region of the Indian subcontinent has been revered for its exquisite softness and decorative surface patterns.Missing: definition credible sources
[8]
https://www.vam.ac.uk/dundee/articles/a-tasteless-history-of-the-paisley-pattern
[9]
Shawl | Amy Johnston - Explore the Collections - V&A
Apr 5, 2006 · Summary. A very fine example of lace knitting, this shawl is made from wool plucked from the necks of Shetland sheep. It was given to the museum ...
[10]
Pieced Twill Tapestry Kashmir Shawl, 1850-70
Description: Twill tapestry Kashmir shawl, 1850-70. Not quite a square (76" x 72"). Pieced from separately woven segments. 2 x 1 twill weave.
[11]
SHAWL Definition & Meaning - Merriam-Webster
Oct 31, 2025 · The meaning of SHAWL is a square or oblong usually fabric ... Word History. Etymology. Noun. Persian shāl. First Known Use. Noun. 1662 ...
[12]
TEXTILE TERMS IN MEDIEVAL INDIAN PERSIAN TEXTS - jstor
brought out with a comb, and is woven into shawl (, shāl ) and velvet. (makhmal) ( Bahār-i 4 Ajam , s.v. kuruk). 56. lahriya. "The distance between lines of ...
[13]
shawl - Wiktionary, the free dictionary
Yola. Etymology. From Middle English schalen. Pronunciation. IPA: /ʃɑːl/. Verb. shawl. to shell. 1867, GLOSSARY OF THE DIALECT OF FORTH AND BARGY : Shawl a ...
[14]
Antique Textile History
Ltd.,Bombay. The Persian word shal, from which the English “shawl” is derived, originally denoted a class of woven fabric rather than a particular article ...Missing: date | Show results with:date
[15]
CU Museum: Exhibits: Three Cultures of Master Weaving
(This glossary ... A garment consisting of a rectangular fabric worn draped over the shoulders as a shawl or around the body as a dress, generally worn by women.
[16]
Ancient Greek Dress - The Metropolitan Museum of Art
It was draped diagonally over one shoulder or symmetrically over both shoulders, like a stole. Women sometimes wore an epiblema (shawl) over the peplos or ...Missing: definition | Show results with:definition
[17]
Scarf, Shawl, Stole And Wrap - Different Size Dimensions - SewGuide
A typical scarf measures 70 inches by 22 inches. A short scarf usually is 40 to 55 inches long, a regular one around 60 to 70 inches long and a long one 75 to ...
[18]
Linen sheet or shawl, Wah - The Metropolitan Museum of Art
Title: Linen sheet or shawl, Wah. Period: Middle Kingdom. Dynasty: Dynasty 12. Reign: reign of Amenemhat I, early. Date: ca. 1981–1975 B.C..Missing: depictions BCE
[19]
Sumerian | Fashion History Timeline
Mar 6, 2018 · During the third millennium BCE, the Sumerian civilization of Mesopotamia was culturally defined by the development of the art of weaving.Missing: shawls | Show results with:shawls
[20]
[PDF] Intro to Roman Clothing | romana sum
A wool palla layered over a wool stola (tube style) and a linen gap-‐sleeved tunica. The palla is a long rectangle of cloth, usually wool. It ranges from 3.5-‐5.<|separator|>
[21]
[PDF] Lions, Silks and Silver: The Influence of Sasanian Persia
The advent of Islam and its conquest of the Persian Empire in the seventh century did little to disrupt the silk and silver trade, or radically alter the ...<|separator|>
[22]
Textiles and Dress in Byzantium
Textiles and dress in Byzantium reflect much about Byzantine civilisation. They act as a rich medium for the exploration of power systems in relation to ...<|separator|>
[23]
CLOTHING AND FASHION IN ISTANBUL (1453–1923)
Clothing in the Ottoman Empire expressed social, economic, political, and religious meanings and embodied certain rules and regulations.
[24]
HISTORY OF CLOTHING IN ANCIENT INDIA - Indian Culture Portal
The first written evidence of clothing is found in the Vedic period (1500-600 BCE). The Rigveda mentions two garments, vasa (lower garment) and adhivasa (upper ...Missing: c. | Show results with:c.
[25]
[PDF] Weaving Strands of the History of the Kashmir Shawl
Kashmir Shawls have a long history, beginning most likely in the 14th century, with their most vibrant period beginning in the late eighteenth century and ...
[26]
[PDF] The embroidery artisans of the Kashmir Valley: cultural imports and ...
Akbar took a personal interest in Kashmiri crafts particularly the twill tapestry-woven or kani shawl weaving industry. Of course, the Kashmir shawl as an ...Missing: 16th- | Show results with:16th-
[27]
Textures of Courtly Dress in Seventeenth-century South Asia
[27] To encourage sophisticated silk weaving, Emperor Akbar is reported to have taken an active role in the textile industry, “providing training in the art ...
[28]
Kashmir shawls: A 17th century French account from Amsterdam
Jan 14, 2022 · Furthermore, the Dutch text tells that the decoration of the cloth was embroidered; however, the French text tells the embroidery was worked on ...
[29]
HISTORY OF PAISLEY | ORIGIN OF PAISLEY SYMBOL & PATTERN
The paisley pattern evolved mainly in The Kingdom of Kashmir. During Mughal Emperor Akbar's reign (1556–1605), shawl-weaving production increased dramatically.
[30]
The Range of Fabrics in the Ottoman Gift Traffic (16th-18th Centuries)
Textiles constituted a significant part of Ottoman diplomatic gifting practices from the 16th to 18th centuries. Ottoman treasury inventories reveal a hierarchy ...
[31]
Shawl - The Metropolitan Museum of Art
Leaders of fashion such as the Empress Josephine in France and Emma Hamilton in Britain owned large collections of Kashmiri shawls, which elegantly complemented ...
[32]
the shawls of Kashmir in European Portraits - The Heritage Lab
Jan 15, 2022 · The Kashmiri Shawl occupied a unique place in European culture. That they were prized items is indicated by their prominent appearance in literature, portraits ...
[33]
Victorian Capelet, Cape, Cloak, Shawl, Muff - Vintage Dancer
The size of shawls increased to a square of about sixty-four inches in the 1840s, and in the 1850s and 1860s shawls two yards square, and the double square of ...
[34]
The Unequaled Beauty of Paisley Shawls - Interweave
May 9, 2018 · By 1808, professional weavers in the small town of Paisley, outside Glasgow, Scotland, were producing shawls in the Kashmiri pattern, hence the ...
[35]
https://www.metmuseum.org/art/collection/search/838357
[36]
Shawls and Wraps in 19th Century Art, Literature, and Fashion History
Jul 29, 2015 · Shawls graced the shoulders of women in every strata of society. They were no less well-represented in art and literature of the day.
[37]
1840-1849 | Fashion History Timeline
The grace with which a woman wore her shawl was a practiced art that reflected the wearer's taste and manners (Severa 14-15). Women wore their hair parted ...
[38]
fichu | Fashion History Timeline
The Encyclopedia of Clothing and Fashion (2005) describes the fichu's eventual disappearance: “This style of scarf continued into the early nineteenth century, ...Missing: decline | Show results with:decline
[39]
Prohibition Sparked a Women's Fashion Revolution
Shawls had a resurgence throughout this period because they were practical for transportation and travel, easy to wear over typical 1920s evening wear and could ...
[40]
Hippies in the 60s : Fashion, Festivals, Flower Power - Vintage Dancer
Apr 7, 2020 · Silhouettes went loose and flowy with tunics, kaftans, kimono shawls, and light crisp fabric clothes. Rich ethnic prints were popular for any ...
[41]
(PDF) Consuming Kashmir: Shawls and Empires, 1500-2000
Aug 6, 2025 · Kashmiri shawls serve as a material vector to trace how European assumptions of geographical determinism, racial hierarchy, and gender essentialism
[42]
(PDF) Digital printing of textiles - Academia.edu
This text provides insights into the digital printing of textiles focusing on various aspects such as print head technology, color printing methods, and market ...Missing: shawls | Show results with:shawls
[43]
Cultural Selection: Stylistic Origins of Kashmiri Artistic Traditions
The demand for these shawls, which often reflected intricate weaving and embroidery, increased. As a result, various designs emerged. This synthesis of ...
[44]
The Impact of Sustainable Fashion on Local Communities and ...
The rise of fast fashion has led to excessive waste, exploitation of workers, and environmental degradation.
[45]
https://www.researchgate.net/publication/236708639_Consuming_Kashmir_Shawls_and_Empires_1500-2000
[46]
https://ipindia.gov.in/writereaddata/images/pdf/gi-tags-list.pdf
[47]
What Are Pashminas Made Of? - The Wool Company
Feb 10, 2025 · Pashmina specifically uses wool from Changthangi goats and requires traditional hand-spinning and weaving due to the delicate nature of its ...
[48]
https://en.unesco.org/silkroad/content/cultural-selection-stylistic-origins-kashmiri-artistic-traditions
[49]
https://www.realthread.com/blog/the-impact-of-sustainable-fashion-on-local-communities-and-artisans
[50]
https://naureen.in/blogs/news/the-evolution-of-shawls-through-the-ages
[51]
Pashmina Wool Fibers - Textile School
Jan 28, 2019 · The fibre of Pashmina is Cashmere wool, which is manually transformed into luxury shawls and scarves. It is most luxurious, softer and ...
[52]
https://www.thewoolcompany.co.uk/blogs/the-wool-company-inspiration/what-are-pashminas-made-of
[53]
Choosing the Right Scarf Material: A Style & Comfort Guide
Wool, silk blends, and high-quality cotton offer a good balance of price and quality. • Budget-Friendly: Acrylic, polyester, and cotton scarves are affordable ...
[54]
https://www.pashmina.com/editorial/how-warm-is-pashmina-types-of-wool/
[55]
Cashmere Crisis: How Climate Change Threatens Luxury Products
Nov 4, 2016 · How climate change and unsustainable herding practices threaten luxury brands' ability to product high-end cashmere products.
[56]
[PDF] Abstracts & Author Biographies for Textile Society of America, 15th ...
The original Kashmir shawls were worn by men and woven using a tapestry twill technique of exquisite designs and intense labor. In the West, women adopted ...
[57]
Shawl - Scottish - The Metropolitan Museum of Art
The invention of the Jacquard loom in 1801 increased productivity and reduced costs even further after its first use in Paisley in the 1820s. Other designs ...
[58]
The Jacquard loom: Innovation in textiles and computing
Jacquard looms are recorded in the Scottish textile industry from the 1820s. It is believed that they were operational in Angus, Kincardineshire, and Paisley ...
[59]
“Rebellious” and True Haapsalu Shawls - PieceWork magazine
Jan 20, 2020 · The outer-lace edge is knitted separately and sewn on. The result is a lace edge on all three sides. The second construction method involves ...
[60]
Knitting a Haapsalu Shawl - Interweave
Apr 25, 2014 · The Estonians use a "k2tog" bind-off for all their lace knitting. The bind-off for the center of a shawl is worked with a single strand of yarn, ...
[61]
https://www.cnn.com/style/mongolia-cashmere-sustainable
[62]
Namda craft Srinagar | Archive & Research on Kashmir ... - Gaatha.org
Namda are felted rugs that are made by enmeshing wool fibers with water, soap and pressure and then embroidering the resultant fabric. These are extensively ...
[63]
https://www.metmuseum.org/art/collection/search/157156
[64]
https://www.nms.ac.uk/discover-catalogue/the-jacquard-loom-innovation-in-textiles-and-computing
[65]
Natural Dyes: Madder - ClothRoads
Aug 13, 2015 · Madder is one of our most ancient dyes–the universal red. Cotton textiles from the Indus civilization date to around 3000 BC.
[66]
Digital Weaving Norway | Jacquard Loom Manufacturers| TC2 Loom
Digital Weaving Norway is a leading manufacturer of Digital Jacquard Loom, TC2 loom. It works as a department under Tronrud` Engineering, a Norway based ...Missing: shawl | Show results with:shawl
[67]
Pashmina Shawls Srinagar - Archive & Research on Kashmir ...
The shawls in Kashmir are woven from fine wool or other animal fleece. It is colloquially known as 'Jamawar', when it was woven in yards.
[68]
Craft of India - JAMMU & KASHMIR - Young INTACH
They are crafted from the fine wool of the Pashmina or Changthangi goat, found in the Himalayan regions of the Indian state of Jammu and Kashmir. Known for ...<|separator|>
[69]
[PDF] design techniques of - kashmir handloom textiles
During the period of the great shawl-trade with Europe, magnificent. textiles woven in Kashmir became world-famed for their superior soft- ness and skilled ...
[70]
[PDF] obstacles faced by craftsmen and traders in pashmina sector
Pashm has a special luster due to its long fine fibers, which are as thin as 14-16 microns which makes the pashmina shawls exceptionally light, soft and warm ...
[71]
[PDF] Kashmir Shawls: The Perfect Exemplar of a Textile Shaping and ...
”5 In Indian literature, it is clear that the shawls were now being exported to other countries, mostly by independent merchants but also the East India Company ...Missing: 1770s | Show results with:1770s
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From fibre to woven cloth
There is also a great tradition in south-eastern India for resist- and mordant-painted, rather than block-printed, textiles; these are referred to as kalamkari ...
[73]
https://gaatha.org/Craft-of-India/craft-documentation-pashmina-shawls/
[74]
https://www.youngintach.org/public/maps_craft_jammu_kashmir
[75]
Shawl - French - The Metropolitan Museum of Art
The primary center for machine woven reproduction Indian shawls became Paisley, Scotland. ... The invention of the Jacquard loom in 1801 increased ...Missing: Kashmiri | Show results with:Kashmiri<|control11|><|separator|>
[76]
Shawl - probably Scottish - The Metropolitan Museum of Art
The invention of the Jacquard loom in 1801 increased productivity and reduced costs even further after its first use in Paisley in the 1820s. Other designs ...
[77]
"M" is for Mantón de Manila: Spanish shawls
Jul 6, 2018 · Originally, Manila shawls were manufactured in the south of China, where most of the silk production took place at the time. In 1565, when ...<|separator|>
[78]
Embroidered Worlds: Rebozos of New Spain - Collection Blog
Feb 16, 2023 · Detail of Shawl (Rebozo), early 19th Century Unknown Maker; Manila or Mexico City, Viceroyalty of New Spain Silk and sequins; 82 x 30 in.
[79]
The migration of silk production from China to Europe and its ...
... history for the benefit of tourists. The shawl takes its Spanish name from Manila in the Philippines from where it was traded eastwards over the Pacific ...
[80]
1850-1859 | Fashion History Timeline
Regarding outerwear, the shawl reigned supreme as it draped beautifully across the sweeping skirts. Cashmere shawls, either imported from India for those ...
[81]
Waistcoat | Unknown - Explore the Collections - V&A
Aug 17, 2006 · An Indian cashmere shawl was ingeniously remade into this man's waistcoat from the 1780s. An attractive feature is the fringed ends of the shawl ...
[82]
https://www.metmuseum.org/art/collection/search/157930
[83]
History of the Hermès Carré Scarf - L'Officiel
Oct 30, 2021 · At the height of Parisienne fashion in 1937, just 100 years after the French luxury house was founded, Robert Dumas, a member of the Hermès ...
[84]
China National Silk Museum - 中国丝绸博物馆
Feb 27, 2018 · Produced in large quantities during the Ming and Qing dynasties, these silk textiles have lusterous patterns resembling colorful clouds.
[85]
Chinese Silk Textiles of the Ming and Qing Dynasties
Motifs on Chinese textiles include mythical creatures like dragons, real animals like birds and bats, floral and plant imagery, geometric forms, Buddhist and ...
[86]
Haori - University of Michigan Museum of Art
The Haori is a traditional Japanese hip or thigh-length jacket with elongated sleeves that is worn over the kimono.
[87]
https://fashionhistory.fitnyc.edu/1850-1859/
[88]
(PDF) Made in China, fashioned in Africa - Academia.edu
The net'ela in Ethiopia Made of plain-woven white cotton, the net'ela has a gauze-like texture. Cloth in Ethiopia is traditionally measured in kind ክንድ ...
[89]
(PDF) Gender-Based Textile-Weaving Techniques of the Amhara in ...
The way to wear the Netela differs depending on the religion of the wearer and also on the occasion. The Ethiopian Orthodox wear the Netela at church, on ...<|control11|><|separator|>
[90]
Haik | Encyclopedia.com
May 8, 2018 · ... worn at the turn of the twentieth century, made of either fine white or coarse lumpy wool, a mixture of silk and wool, or simply cotton.
[91]
The Moroccan Haik, Cultural and Religious Heritage
Mar 8, 2023 · The Haik, characterized by its plain, refined color and its ample form, is, in the collective mind, a symbol of purity and elevation.
[92]
"The Mexican Jaspe (Ikat) Rebozo: Comments On Its History ...
The rebozo is a multi-function shawl worn by women in Mexico, 6 to 12 feet long and 24 to 34 inches wide. Approximately three-quarters of the length is woven; ...Missing: influence | Show results with:influence
[93]
The Embroidered Arts in Colonized Mexico and Indigenous Craft
From Spanish-colonized Manila, for example, rebozos, or embroidered shawls, were introduced into Mexico during the colonial period, and all classes of people ...
[94]
Andean Aguayo Blanket [WI1] - Folk Art Museum of Central Texas
The aguayo is a rectangular carrying cloth used in traditional communities in the Andes region of Argentina, Bolivia, Chile, Colombia, Ecuador and Peru.
[95]
Weaving and the Social World: 3000 Years of Ancient Andean Textiles
May 20, 2016 · Andean peoples first produced textiles around 10,000 B.C. and created one of the world's earliest weaving traditions. Improvements in technical ...
[96]
The cultural meaning of Sámi language, costume, and food to the ...
Oct 12, 2022 · The roots of the Gákti are in everyday clothing suitable to Nordic circumstances and having gradually taken the shape of a cultural symbol, ...
[97]
Re-imagining a Queer Indigenous Past: Affective Archives and ...
Gákti is a long-sleeved, loose tunic, usually made of wool, cotton, felt, or silk; women's versions are a bit longer at the hem than men's. The gákti can be ...
[98]
Regional Clothing and Dress - Fashion and Costume
Oct 7, 2025 · Barkcloth or tapa, a cloth made from the inner bark of trees, was widely used in place of woven cloth in the Pacific islands until the 19th ...Missing: wraps | Show results with:wraps
[99]
One of the world's largest Tapa bark cloths, Ngatu Me'a'ofa, unveiled ...
Jun 9, 2023 · The Tapa cloth holds special cultural significance to the people of Tonga. Considered a 'fabric of life' it is made from the paper mulberry tree ...Missing: shawl | Show results with:shawl
[100]
https://adht.parsons.edu/historyofdesign/objectives/the-embroidered-arts-in-colonized-mexico-and-indigenous-craft/
[101]
[PDF] PROJECT PROFILE - Enterprising Ladakh
Jul 9, 2025 · Known for its softness, warmth, and light weight, Pashmina wool is the foundation for making world-renowned shawls, stoles, scarves, and other ...
[102]
https://artgallery.yale.edu/exhibitions/exhibition/weaving-and-social-world-3000-years-ancient-andean-textiles
[103]
How a garment used for protection against the desert sun became a ...
Dec 4, 2023 · Traditionally crafted from cotton, it was first donned by the nomadic Bedouin tribes as a protection against the desert sun and sand.Missing: shawls | Show results with:shawls
[104]
https://quod.lib.umich.edu/cgi/t/text/idx/j/jcms/18261332.0060.504/--re-imagining-a-queer-indigenous-past-affective-archives?rgn=main%3Bview=fulltext
[105]
6 things to know about babywearing and cultural appropriation
Sep 13, 2021 · In countries such as Tanzania and Kenya, babies are often wrapped on a wearer's back or hip in a traditional kanga cloth; the fabric is spread ...
[106]
16 Best Travel Wraps & Shawls for Women
Jul 28, 2025 · A travel wrap is a great versatile travel garment that can often be used as a shawl, a scarf, and a travel blanket. Travel wraps are also ...
[107]
https://himalayanweavers.org/some-facts-about-pashmina/
[108]
https://ediiladakh.org/downloads/profiles/5_PP_Final_Pashmina_Wool.pdf
[109]
https://www.pashmina.com/editorial/what-is-pashmina-wool-how-is-it-different-from-other-wool/
[110]
Dressing up for the Arctic - svartberg
Jul 27, 2023 · They are not made of grindy and uncomfortable wool which itches in a way you'd lose your mind, these garments are incredibly soft and gentle and ...
[111]
The Evolution of Boho Style: Hippies, Festival Fashion
Nov 25, 2024 · Nicks tapped the talents of designer Margi Kent to curate her bohemian wardrobe, which frequently consisted of fringe shawls, chiffon skirts and ...<|separator|>
[112]
Those '70s shows: Spring 2015 runways flashback to the 'me' decade
Mar 11, 2015 · Many of the designers who flashed back to the 1970s for their spring collections were toddlers when that hedonistic era began.
[113]
Grace Kelly's Favourite Gucci Scarf Has Had An Art-Inspired Makeover
Apr 3, 2025 · The Gucci Flora print scarf, which was specially created in 1966 by Italian illustrator Vittorio Accornero for Princess Grace of Monaco, aka Grace Kelly.
[114]
The Charming Ways Princess Grace of Monaco Wore Scarves ...
May 5, 2011 · She was famous for tying Hermes scarves around her head to protect her hair. That way she wore them became known as the Grace Kelly Style. It ...Missing: shawl | Show results with:shawl
[115]
(PDF) Shawl Industry in kashmir under the Mughals-A critical note
New designs and colours were introduced and shawls of fine texture were produced for the emperors, their harems and courts. ... symbol of prestige. (p. 375) ...
[116]
Shawl Karkhanas: The rise of the shawl industry in Mughal period.
Nov 20, 2023 · Mughal emperors established Shawl Karkhanas, promoting weaving and shawl-making, especially in Kashmir, which became a significant industry.
[117]
Black Crêpe Mourning Shawl | V&A Explore The Collections
Oct 30, 2018 · This shawl is a rare example of a nineteenth-century, machine-woven crêpe mourning shawl. Very few examples of mourning crêpe survive due to the fabric's ...
[118]
Mid-Late Victorian Mourning Dress - LancasterHistory
Oct 6, 2021 · Victorian mourning dress used black and specific fabrics to define stages of grief, with deep mourning using simple black, and other stages ...
[119]
Shawl and Sweater - Wearable History
Shawls have been popular for woman since the 14th century. Even at the beginning of the Gilded Age in 1860s, shawls were still considered stylish.Missing: associations | Show results with:associations
[120]
Navajo Traditional Dress: History, Meaning, and Modern Style Guide
What is the cultural significance of Navajo traditional dress? It symbolises identity, spirituality, and heritage, with specific garments and colours ...Missing: ethnic | Show results with:ethnic
[121]
Regalia and ceremonial attire | Native American Art and Culture ...
Native American regalia is a vibrant expression of cultural identity and spiritual beliefs. From intricate beadwork to symbolic designs, regalia showcases ...
[122]
From Yasser Arafat to Madonna: how the Palestinian keffiyeh ...
Dec 11, 2023 · Initially, the only westerners who wore keffiyehs wanted to show solidarity with the Palestinian resistance movement, mostly “anti-war activists ...
[123]
Identity, Tradition, Resistance: The Keffiyeh Explained | British Vogue
May 2, 2024 · The pattern is a square border with repeating waved lines in the middle. It appears on a scarf called a keffiyeh, which is associated with Palestine.
[124]
Best Sustainable Scarves & Shawls: 6 Resourceful Brands
Oct 6, 2021 · 1. Fifth Origins. Involving premium Himalayan wool, these sustainable scarves are handmade by artisans in India. This brand offers a ...
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https://wearablehistory.org/shawl-and-sweater