Shawl
1924-1926 (made)
| Artist/Maker | |
| Place of origin |
This batik shawl was made by Winifred Kennedy Scott in the mid 1920s. The craft of batik came to Europe from Indonesia via the Netherlands. It was popularised during the 1920s by practitioners such as Mme Pangon in Paris and Jessie M. King of the Glasgow School of Art. The characteristic lines made by cracks in the wax during the dyeing process are considered a fault in Indonesia. In the West, however, many artists used these to ornamental effect.
The technique involves applying wax to the textile to protect the patterned areas before placing it in a dye bath. The process can then be repeated by removing areas of wax and dyeing the exposed parts with further colours.
The technique involves applying wax to the textile to protect the patterned areas before placing it in a dye bath. The process can then be repeated by removing areas of wax and dyeing the exposed parts with further colours.
Object details
| Categories | |
| Object type | |
| Materials and techniques | Batik silk crêpe de Chine |
| Brief description | Shawl, batik silk crêpe de Chine, designed and made by Miss Winifred Kennedy Scott, Scotland, 1924- 1926. |
| Physical description | Shawl of batik silk crêpe de Chine, with pink ground and long yellow tassels. Design, in dark purple, blues and fuchsia, includes long-tailed birds sitting on branches and a cross of fuchsia flowers in the middle. |
| Dimensions |
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| Style | |
| Credit line | Given by Mrs E. Macqueen |
| Object history | Miss Winifred Kennedy Scott was a student of Ann Macbeth at the Glasgow School of Art, 1924-1926. Other pieces by Winifred Kennedy Scott are in the collection of the Perth Museum and Art Gallery |
| Subjects depicted | |
| Summary | This batik shawl was made by Winifred Kennedy Scott in the mid 1920s. The craft of batik came to Europe from Indonesia via the Netherlands. It was popularised during the 1920s by practitioners such as Mme Pangon in Paris and Jessie M. King of the Glasgow School of Art. The characteristic lines made by cracks in the wax during the dyeing process are considered a fault in Indonesia. In the West, however, many artists used these to ornamental effect. The technique involves applying wax to the textile to protect the patterned areas before placing it in a dye bath. The process can then be repeated by removing areas of wax and dyeing the exposed parts with further colours. |
| Bibliographic reference | Miller, Lesley Ellis, and Ana Cabrera Lafuente, with Claire Allen-Johnstone, eds. Silk: Fibre, Fabric and Fashion. London: Thames & Hudson Ltd in association with the Victoria and Albert Museum, 2021. ISBN 978-0-500-48065-6.
This object features in the publication Silk: Fibre, Fabric and Fashion (2021) |
| Collection | |
| Accession number | T.114-1975 |
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| Record created | August 21, 2008 |
| Record URL |
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