This question always comes up..."why should I buy a vintage or antique fabric over a new one" and I always advise new clients that you are buying quality and beauty.  There are so many reproduction fabrics on the web today, but once you develop the taste for the real deal, it is difficult to want anything else. Many contemporary fabrics have sacrificed quality for profits unfortunately and it is evident once you become accustomed to handling vintage and antique fabrics.

~A Yiddish Girl's Guide to
Antique and Vintage
American and French Textiles ~

The American shmatte (rag aka textile/clothing) business found its roots during the beginning of the Industrial Revolution, when cotton thread manufacturers on the rivers of Eastern Connecticut began mass production to compete with European fabric factories.  Prior, during the 17th and 18thc, women in America and the colonies wore calico, an unglazed cotton fabric, imported from Britain, sometimes with husks still included.  Calico was cheap and affordable and the American demand for it was insatiable.  American mills, seeing the demand, followed suit and began producing muslin for the population to use in draperies, fabrics and garments.  The very wealthy continued to import the finer fabrics from France and Britain during the mid-late 18thc.  

  The terms Calico and Chintz, from the Hindi word "chints" which means variegated, refers to fine glazed cotton printed with prominent birds, flowers and other representational motifs during the 18th and 19thc. The term Indiennes refers to a  similar cotton fabric utilizing the resist and mordant dyeing processes.  You will find examples of these aforementioned fabrics used in early, fine American quilts.

  Although the word cretonne was first being used by the French during the middle of the 18thc, it became wildly popular during the mid-late 19thc.  This fabric, similar to unglazed chintz, is often thought to be named after Paul Creton or the village of Cretonne in France.  Cretonne is sometimes considered a barkcloth, a plain white, durable cloth that is normally cotton, or nubby cotton with flax, printed with colorful designs and dyes.   Toiles, an unglazed chintz,  were introduced by the French during the 18thc (ex: toile de Jouy, de Nantes, etc..depending on location of where they were produced.) These fabrics were woodblock printed and very popular during the 19thc as well.  They remain a popular fabric and are reproduced to this day.

During the Victorian era, American fabric tended to lose the quality of its European counterparts in lieu of profits.  Nothing was being produced as fine as the antique silks of Lyon, France, inspired by  imported 17thc Chinese silk fabrics.   Cottons as described above and hand-woven linens created in France and Britain were also unsurpassed, with their wood block, copper plate or double roller designs.  As far as I am concerned, nothing is prettier and has the same quality as the French cotton from the factories of Alsace, France during the mid to late -19thc, with the influence of Art Nouveau, then William Morris and the Arts and Crafts movement evidenced in the designs. 

Around the time of WWI, American fabrics became more utilitarian; the rich still dressed in exotic silks and imported fine velvets, while the masses dressed in less colorful American made cotton and wool garments.  Likewise, solid colors became popular in France as they cost less to produce.  Denim was a durable, popular American textile at this time. 

 The American Barkcloth Era during the 1930's-40's saw a resurgence of the use of bright, VAT dyed colors in cotton design with a distinctive tropical, Hawaiian floral influence brought back by the troops.  During this time, the use of synthetics in fabrics also became popular and you will find many Barkcloth Era fabrics to have a synthetic and cotton blend. 

Obviously, the above is a very simplified examination of fabrics from the 17thc - 20thc but it should give you a basic idea of the diverse history of textile manufacture.  Immigrant Ashkenazi Jews from Europe, some of the finest tailors in the world, opened textile mills and showrooms on Broadway as well as in Brooklyn during the 19thc.  Soon fashion design became a booming part of the growing American economy.  My Father's family were prominent clothing manufacturers during the early to mid-20thc and were very involved in educating the American textile mills on the fabrics that appealed to the general public.  My Grandfather was known as the King of Slacks in NYC and was responsible for putting the fitted denim coveralls on Rosie the Riviter during WWII.  My father was the first to use Lycra in his designs during the 70's.  They both worked out of the same building on Broadway in Times Square right down the block from Macys and the Diamond District. 


~So, How Do I Tell If A Fabric Is Old?~

The big question is: How do I tell if a piece of fabric is old and the answer is simple, you tell from its width.  Since I deal primarily with late 19thc French Fabrics and American Barkcloth era fabrics, I will discuss these but to begin with,  earlier 19thc French fabrics have a width of 12"-16".  Late 19thc - early 20thc French fabrics run a width of 28"- 33".  Vintage 1930-40 Barkcloth Era fabrics have a width of 33"- 36".

  Be sure to check the graphics as well.   I constantly search out colorful cotton prints with a special affinity for Art Nouveau period fabrics. Although I don't specialize in toiles, early cotton toiles, for example, will  have scenes that depict the era of its manufacture such as early 19thc copperplate grecian classical graphics or woodland designs of later manufacture.  Also, vintage American barkcloth often has the manufacturer's name along the selvage.   Be sure to look for a patina from use.  If you are dealing with chintz you will find the older, used pieces have lost much of their lustre while cretonne might appear as teastained or yellowed on the edges due to age.  If you are a quilter, weight and thread-count are important tell-tale signs of age. Put it up to the light to check for pin pricks or holes that might compromise your project down the line.  Also put your nose to use..see if there are any smells or odors.  There might be mold dots or foxing (stay away from these as beneath the foxing is deteriation).  Don't be afraid to do a burn test on silk if you aren't sure if it is real or not (silk will smell like burnt hair and turn to ash).  Many pieces that Ruins-ca sells are old store or showroom samples that have never been used before and some even have their original showroom tags.

The more you deal with older fabrics for your projects, the greater your appreciation for them will become and your experience in choosing them.  It is an addiction and you will become forever hooked. I am a Textileophile and I  usually identify a vintage or antique fabric by its design, quality, the weave, the width, etc.. it isn't too difficult to tell whether a fabric is original or a reproduction when you are handling it.  As far as I am concerned, there is nothing better than an antique French toile, cretonne or Lyon silk for a pillow or tote project.  And don't get me started on antique silk velvet! 

There is an advantage to buying new; however, and that advantage is yardage.  I am lucky if I find an entire antique or vintage curtain panel or drapery to sell. And the older European fabrics are getting that much more difficult to find.

You will notice as you peruse my site that I am into using PLAIN language to describe my items, so you understand exactly what you will be receiving, unless there is technical information that is of specific interest.  Of course, should you ever have any additional question regarding the age or quantity of any fabric of mine, don't hesitate to e-mail me and I will describe it more technically for you.  I just figure that you folks are interested in the date, origin, color and design of the fabrics that you choose for your projects.  If you want to talk Nap III trims or the origin of the thistle in Arts & Crafts designs, I am happy to oblige.   My items and their descriptions normally attest to the distinct quality and origin of each piece. Happy hunting! ~ Lisa Genesta