The taffeta used for the lining of the hood (730H-1864) is an example of a patterned silk the kind of which begun to be woven in Europe in the first half of the 18th century, in a manner then known as chiné (in England they were called ‘clouded lustrings’). The term chiné indicates the probable Chinese origin; it is almost, but not quite, synonymous with ikat (technique of Indonesian origin where tie-dying of the threads precedes the weaving). In chiné, the warp ends are stretched on a special frame, handled and bound in small groups (branches), dyed according to the desired pattern and then transferred (mounted) onto the loom. This provided the possibility of creating coloured patterns without using supplementary warps and wefts, resulting with considerable savings in the amount of silk required. The silk fabrics patterned by using this complex technique were taffeta, satins, twills, velvets and pékins (with their grounds plain, striped or chequered) and are easily recognized by the characteristic, softened, undefined outlines and shaded colours of their decorative elements. Chinés were particularly sought after not only for the originality of their patterns or for their resemblance to the East Asian fabrics from which they were inspired, but also because of their elegance and lightness which made them ideal for women’s clothing of the period (for summer dresses in particular). Despite being light and apparently simple, chinés were nevertheless far from cheap, essentially because of the slow and delicate warp preparation phase. Their price increased with the complexity of their patterns which could comprise meanders or floral garlands and festoons, like in the example seen here. Such chiné silks - with larger and more elaborate patterns - are today generally attributed to France, where there popularity resulted in their inclusion in the Encyclopédie where the technique was described under the heading Soierie, Chiner des Etoffés.