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These scarves originate from a simple piece of white cloth with embroidery, which was called ubrus. TO XVII century ubrus gives way to a scarf or shawl.

By the beginning of the 18th century, traditions of handicraft textile production already existed in the area of ​​Pavlovsky Posad. In the Bogorodsky district of the Moscow province, which historically included Pavlovsky Posad, there were more than 70 silk scarf factories owned by peasants.

The peasant enterprise, from which the shawl manufactory subsequently developed, was created in 1795 by a peasant from the village of Pavlovo, Ivan Dmitrievich Labzin. Labzins had a small production. Most of the materials were distributed to the peasants of the surrounding villages, who produced silk and paper fabrics and scarves in their home camps.

The great-grandson, Yakov Ivanovich Labzin, together with Vasily Ivanovich Gryaznov, repurposed the factory for the production of woolen shawls with a printed pattern, which at that time became widespread in Russian society. The first Pavlovo Posad shawls were produced in the early 60s of the 19th century.

The heyday of the manufacture occurred in the 1870-1880s. In 1881 Yakov Labzin receives the title of supplier Grand Duchess Alexandra Petrovna, the company is awarded silver medals at All-Russian art and industrial exhibitions. In 1896, at an industrial exhibition in Nizhny Novgorod image rights have been obtained state emblem on signs and labels.

After the October Revolution, the enterprise was nationalized and renamed the Staro-Pavlovsk factory. The company is expanding its assortment, attempts are being made to modernize the appearance of scarves (images of animals, drawings on the themes of revolution, industrialization and collectivization), and to produce cotton fabrics.

In 1937, the factory participated in the World Art and Industrial Exhibition in Paris.

In the post-war period, the colors and range of scarves expanded while traditional motifs and designs were preserved.

In 1958, at the World Exhibition in Brussels, Pavlovsk scarves were awarded the Great Gold Medal.

In 1963, the factory received the name Moscow Shawl Production Association. Since 1995 - OJSC "Pavlovo Posad Shawl Manufactory".

Photo gallery

Start date: XVII century

Helpful information

History - Pavlovo Posad shawls

Factory names

After 1855, the shawl enterprise had different names:

1868 - Full partnership "Yakov Labzin and Vasily Gryaznov"

1892 - Partnership on shares "Partnership of the manufactories of Y. Labzin and V. Gryaznov in Pavlovsky Posad"

1918 - the factory was nationalized and began to be called

Staro-Pavlovskaya Factory No. 11 of the State Worsted Trust of the Supreme Economic Council

1928 - factory named after the 10th anniversary of the Red Army of the Main Directorate of the Wool Industry

1963 - Moscow Shawl Production Association

1989 - Pavlovo-Posad Shawl Production Association

1992 - Closed Joint Stock Company "Pavlovo Posad Shawls"

since 1995 - Open Joint-Stock Company"Pavlovo Posad Shawl Manufactory"

Vasily Pavlovo Posadsky

Vasily Gryaznov was widely known during his lifetime among the surrounding population not only as a manufacturer, but also for his charitable deeds. For many years he was the headman of the Pavlovo Posad Cathedral of the Resurrection of Christ.

In August 1999, V.I. Gryaznov was canonized by the Russian Orthodox Church as a locally revered saint of the Moscow diocese as the Righteous Vasily of Pavlovo Posad.

Pavloposad shawls need no introduction. This is not just comfortable clothing and a bright accessory. This is a real symbol of Russian culture, unique work applied arts, which has gained worldwide fame and recognition.

A little history

The history of posad products goes back more than 200 years. The first factory was opened by Russian merchants Labzin and Gryaznov in 1795. But almost 50 years passed before the appearance of real, familiar scarves. It was then that a new production was opened at the enterprise, and the Pavloposad shawl became a traditional element of the noble costume, which by the end of the 19th century became available to peasants.

When the Bolsheviks came to power, the manufactory was nationalized, and in the first years it produced mainly cotton scarves. But by the mid-20s, most of the production was already occupied by wool products created according to pre-revolutionary sketches, and later developments Soviet artists and designers. After Patriotic War the factory had to be rebuilt. The revival of Pavlovo Posad scarves as a Russian brand began, and participation in international exhibitions began. The prosperity of the enterprise is firmly connected with the names of such famous Soviet artists as E. I. Shtykhin, E. P. Regunova, L. S. Shakhovskaya and others.

Types and sizes

Currently, the factory produces more than 400 types of products. The main ones are the following.

1. Wool shawls are made from pure wool, which is not subject to additional processing.
2. Silk shawls. Material – 100% silk from China.
3. Products made of silk and wool in different proportions. Such fabrics have high consumer properties, are silky, and pleasant to the touch.
4. Stoles.
5. Cotton tablecloths, scarves.
6. Linen tablecloths (material – Russian linen).

It is worth noting that artificial fibers are not used in the manufacture of Pavloposad shawls. All fabric components are only natural.

Also, all scarves can be with or without fringe. Fringe is usually made from either natural wool fibers or rayon. For expensive products, original knitted silk fringe is used.

The sizes of the scarves range from small (52 by 52 cm) to large (140 by 140 cm).

Differences between silk and wool posad scarves

Besides the material, there are some differences that consumers have noticed.

1. Woolen shawls are still warmer. Therefore, in severe frosts it is worth giving preference to them.
2. Silk shawls are softer and fit better on the body.
3. Wool products are bulkier. This is worth considering when choosing the wardrobe with which you plan to wear them. If a fur coat or coat is sewn strictly according to the figure, then such a scarf will create a “hump” if part of it is hidden under clothing.
4. Silk products can be worn even in the warm season (up to +10 degrees), as this material has a “cooling” effect.

Painting technologies are constantly being improved, combining traditional handmade and industrial technologies. They are working on sketches best artists enterprises. All drawings are reviewed collectively and approved by the Art Council, to which experts are invited, as well as representatives of the Russian Ministry of Culture.

During the years of socialism, scenes from the life of Soviet people and symbols of the USSR were a frequent subject on Pavlovo Posad scarves. After perestroika, artists returned to traditional subjects, which were in much greater demand. This floral ornaments, compositions based on bright flowers - roses, tulips, peonies. A combination is often used geometric shapes and decorative elements. The patterns for the tablecloths are kept in light color scheme, are based on compositions from plants.

How to wear scarves and shawls

Pavloposad scarves have become a common accessory in the wardrobe of Russian women. Here are some tips to look mesmerizing.

1. Wrap the ends around your neck and tuck them under your clothes. Looks great with a fur coat or sheepskin coat.
2. Tie the ends under the chin.
3. Throw it over your shoulders, straightening the shawl or scarf. This method will allow others to appreciate the design and texture of the product.
4. Tie around the waist as a belt or skirt.
5. Tie it like a bandana.

Posad scarves are bright and colorful; they should not be worn with tracksuits, rhinestone jeans, or sneakers. They also do not fit strict styles - office, business, military, etc.

Cost of Pavloposad shawls

Factors that determine the price are material and size. Often used in production manual labor(for sewing on fringe, painting individual elements with paints, etc.), which also affects the final price. The “exclusivity” of the product is of great importance. If the product is created according to the sketch of the leading artist in only a few copies, it will cost more.

Terms of purchase and delivery

You can purchase Pavlovo Posad products from us. They are equipped detailed description, photographs. For advice, you can call us or request a call back. We wish you a pleasant shopping!

Usually delivery in Moscow occurs the next day after purchase. Cost 250 rub. Express delivery possible. The cost for buyers from the Moscow region depends on the distance from the capital. Delivery by EMS Russian Post throughout the country and abroad is also possible.

The girl on the left threw a shawl over her shoulders, very similar in style and ornament to Pavlovo Posad shawl. Fragment of the picture.

Pavlovo Posad printed scarves- woolen and half-woolen scarves, decorated with traditional colorful printed patterns that arose in the town of Pavlovsky Posad near Moscow in the 1860-1880s.
The area of ​​Pavlovsky Posad (the territory of the former Bogorodsky district) is one of the oldest Russian textile centers. In the XVIII - first half of the XIX centuries. Bogorodsk shawls and sarafan fabrics were distinguished by the special beauty of the ornament woven with gold thread. Later, silk weaving spread widely here, and from the 1860s. The production of woolen and half-woolen scarves, decorated with colorful printed patterns, began. Gradually, production expanded and acquired a pronounced national character.

The Pavlovo Posad scarf is so recognizable that it seems difficult to find a person who has never seen it. The Pavlovo Posad shawl near Moscow has long become one of the symbols of Russian traditional culture. Let us remember the merchant women in bright shawls from the paintings of Kustodiev and Malyavin. And modern women are happy to use posad shawls as an effective addition to clothing, which also has practical side: a warm and soft woolen Pavlovo Posad shawl provides great warmth.

The Pavlovo Posad manufactory is the only ancient Russian scarf factory that has survived to this day. In the XVIII - early XX centuries. The textile industry was extremely developed in Moscow and the Moscow province. In Pavlovsky Posad and the villages nearby there were large factories and small manufactories, the products of which were exported to Moscow and other cities and distributed at fairs. One of the largest enterprises in Russia in the second half of the 19th century. - a factory owned by Ya. I. Labzin (1827-1891) and V. I. Gryaznov (1816-1869). It was founded at the end of the 18th century. peasant of the village of Pavlova (since 1844 - the city of Pavlovsky Posad) Ivan Dmitrievich Labzin, whose grandchildren by the beginning of the 1840s. were already listed in the merchant class.

The small silk weaving establishment grew quickly, expanding and changing its assortment. In 1853, Yakov Ivanovich Labzin (great-grandson of the founder of the factory) and his relative and companion Vasily Ivanovich Gryaznov (Yakov Labzin was married to Gryaznov’s sister), pooling capital, founded their own Trading House. Three years later, in addition to weaving, they also opened printing. Up until the 1860s. The factory produced woolen, half-woolen, cotton fabrics and Pavloposad shawls. In the second half of the 19th century. already popular printed woolen stoles and shawls predominated. Just at this time, they were widely coming into fashion as an indispensable element of the costume of city and rural women. Merchants, bourgeois women, and peasant women sported stoles and shawls draped over their shoulders or heads with ornaments in the “oriental” spirit or with bright floral arrangements. Undoubtedly, Pavloposad shawls and stoles can be called a Russian souvenir.

The designs on Pavlovian scarves were applied manually using special wooden boards: “manners” and “flower”. Despite the fact that in the 1870s. pyrrhotine was purchased - a machine that printed a pattern on fabric; its use had serious limitations: only Pavlovo Posad shawls of small sizes in four or five colors were mechanically printed. Using boards, the pattern was printed in parts, overlaying it up to 400 times, since each part (and there could be from 4 to 24) and each color (sometimes more than 16) had its own board. This labor-intensive and lengthy process required the printer to have the highest skill and precision of movements that did not allow the design to shift. The boards were used for a long time, sometimes for decades, because the demand for shawls with similar patterns did not fall. Hand-printing of Pavlovo Posad shawls was partially preserved almost until the mid-1980s. Along the edges, Pavlovo Posad scarves were decorated with mesh wool or silk fringe, which is still knitted and sewn by hand by homeworkers.

After the October Revolution, the factory was nationalized, it lost the names of its previous owners and began to be called Staropavlovskaya. Changes in the life of the country immediately affected the assortment. In the 1920s Experiments with designs began, and, to put it mildly, unexpected motives for glorifying the revolution, the successes of collectivization and industrialization arose for the theme of a scarf. But the flower arrangements still remained business card Pavlovo Posad shawls. New designs and ornaments in line with the factory’s classic tradition were the main concern of the artists of that time, among whom Nil Postigov and Konstantin Abolikhin, who worked even before the revolution, stood out. Pavlovo Posad artists created drawings with complex decorative motifs: intricately intertwined so-called “Turkish” cucumbers, “fans,” and cartouches. curls; patterned, almost jewelry-like design of each element. Naturalistic, three-dimensionally interpreted floral compositions of garden and wildflowers were also born: roses, peonies, daisies, forget-me-nots...

After the war, Semyon Petrovich Ryzhov (1916-1994) and Evgeny Ivanovich Shtykhin (1909-1976; master carver since 1934) returned here. The latter helped compile collections of scarves based on sketches by other artists and made his own, now famous, designs for shawls, for example “Medallions”. In the second half of the 20th century. At the factory, endlessly varied options for floral and ornamental compositions are created, old drawings are used in new coloristic developments.

IN Lately Pavloposad artists, winners of many state awards, try themselves in new directions, create laconic compositions from geometric and abstract forms, and produce silk scarves. The unique factory museum contains samples of products from late XIX V.

The compositional and color splendor of the Pavlovsk scarf is based on the masterly skill of the carvers of the printed boards from which the design is printed on the fabric, as well as the skill of the colorists-printers. Each color is printed from a separate board, the number of which sometimes reaches several dozen. The decoration of Pavlovsk scarves is dominated by lush floral bouquets and garlands. The “Turkish cucumber” ornamental motif, borrowed from the famous Indian cashmere shawls that became fashionable in Europe during the Napoleonic era, is still popular. The predominant colors are milky white, black, red, dark blue, and cherry. Throughout the 1920-1930s. In Pavlovsky Posad, mainly cotton fabrics with printed and printed patterns were produced. The art of an elegant printed woolen scarf was revived in the post-war years, when hand-printed fabrics began to be actively used. However, since the late 1950s. manual production began to be gradually replaced by modern printing machines and photo printing techniques, and at present shawls are not produced by hand-printing at the Pavlovsky Posad shawl manufactory in Pavlovsky Posad. However, when creating samples for replication using modern methods printing, artists strive to preserve the traditional techniques for decorative generalization of floral motifs for Pavlov Posad shawls, the nature of the composition and color features. Among the leading artists of the enterprise are E. Regunova, Z. Olshevskaya, I. Dadonova, K. Zinovieva, N. Slashcheva, V. Fadeeva, E. Zhukova.

The production process of Pavlovo Posad scarves

Pavlovo Posad shawls originate from a simple piece of white cloth with embroidery, which was called ubrus. In the seventeenth century, the ubrus with which Russian women covered their heads in Everyday life gives way to a scarf, later in the Russian language the word “shawl”, borrowed from Persian, appears, meaning a large patterned scarf worn on the body. The scarf has always been one of the obligatory attributes of the Russian national traditional costume, both everyday and festive. To appear in public with your head uncovered (with bare hair) was considered the height of indecency in Rus'.

Yakov Ivanovich Labzin (1827-1891)
Vasily Ivanovich Gryaznov (1816-1869)

Vasily Ivanovich Gryaznov (1816-1869). Born into a simple family in the village of Evseevo (currently Pavlovo-Posad district), he was educated at home and inherited from his parents deep faith and love for God.

But when he went to work at the factory, the naive village youth plunged into the world of vice and passions, began to drink wine, and fell under the influence of bad company. However, over time, he managed to overcome his weaknesses and take the path of correction.

After meeting the merchant Ya.I. Labzin and joining the business, Gryaznov continued to lead the life of a holy ascetic. When did he have more money, he spent them on helping the poor and on worthy causes. Vasily, together with Yakov Labzin and Yakov’s sisters, built schools and almshouses. Vasily dreamed of building in the city of Pavlovsky Posad monastery, but didn’t have time. Thanks to Yakov Labzin and his sisters, in 1874 a church was built in Pavlovsky Posad at the burial site of St. Basil. In 1894, the Pokrovsko-Vasilievsky Monastery was opened on the site of the temple.

Vasily Ivanovich Gryaznov was canonized by the Russian Orthodox Church like a saint in the ranks of the righteous - Righteous Vasily Pavlovo-Posadsky.

Until the 1860s, the factory produced woolen, half-woolen, cotton fabrics and Pavlovo Posad shawls. In the second half of the 19th century, popular printed woolen stoles and shawls already prevailed. Just at this time they were widely coming into fashion as an indispensable element of the costume of city and rural women. Merchants, bourgeois women, and peasant women sported stoles and shawls draped over their shoulders or heads with ornaments in the “oriental” spirit or with bright floral arrangements.

After the October Revolution, the factory was nationalized, it lost the names of its previous owners and began to be called Staropavlovskaya.

Changes in the life of the country immediately affected the assortment. In the 1920s, experiments with designs began, and motifs of the revolution, the success of collectivization and industrialization, unexpected for the scarf theme, arose. But floral arrangements still remained the hallmark of Pavlovo Posad shawls.

New designs and ornaments in line with the factory’s classic tradition were the main concern of the artists of that time, among whom Nil Postigov and Konstantin Abolikhin, who worked even before the revolution, stood out.

Natural wool, cotton and silk scarves can be worn at any time of the year.

In addition, fashion designers find interesting solutions using Pavlovo Posad scarves.
Women's clothing items such as the ones below can become the calling card of their owner, and they will make any cloudy day bright and sunny.

Fur-lined scarves and vests made from Pavlovo Posad scarves are warm and stylish elements of the costume modern woman who loves Russian folk flavor. All this can be worn with trousers and skirts, on holidays and on weekdays.

All these wonderful models were invented and made by craftswomen...

The Pavlovo Posad scarf is so recognizable that it seems difficult to find a person who has never seen it. The Pavlovo Posad shawl from Moscow has long become one of the symbols of Russian traditional culture. Let us remember the merchant women in bright shawls from the paintings of Kustodiev and Malyavin. The designs on Pavlovian scarves were applied manually using special wooden boards: “manners” and “flower”.

Printed patterns are prepared using a unique direct engraving machine that, under computer control, deposits droplets of molten wax onto the surface of a photoemulsion-coated mesh.

Printing inks are prepared on an automatic ink cooker, where all processes are performed without human intervention. Here, for the first time in the world, plasma-chemical treatment of fabric before printing was introduced instead of harmful chlorination.

For more than two centuries of existence, the Pavlovo Posad shawl manufactory has come a long way in its development from a peasant brighthouse to a modern competitive production that meets all world standards. Her achievements have been repeatedly noted at various exhibitions, ranging from the Small Silver Medal at the Moscow Exhibition of Russian Manufactures, to the Large Gold Medal at the World Exhibition in the capital of Belgium in Brussels.

In the finished products workshop

Working with fringe

A factory worker demonstrates the finished product

“Once, at Orlov’s ball, they asked one of the Moscow beauties, the wife of his illegitimate son, to dance “pas de chele,” recalls E. I. Raevskaya. “She agreed and, standing in the middle of the hall, as if by accident, dropped the comb holding her hair. Luxurious jet black hair spilled over her shoulders and hid her figure almost to her knees. Everyone present screamed with delight and begged her to perform the dance with her hair down. That's all she wanted; performed a dance with general applause." The emergence of this dance was facilitated by the passion of French society ancient culture. “The pas de chal is solo, danced with a light gauze scarf in her hands: the dancer either wraps herself in it, then loosens it.” Special attention focused on the smoothness and grace of hand movements. Dancing with a shawl required grace and elegance. The lady slowly turned to the public, now with her face, now with her back, alternately raising her right hand, now left hand with the end of the shawl pinched in it. Each new movement began with the extended toe of the right or left leg. At the beginning of the 19th century it could have been couples dance, but later it became a ladies' solo dance. To make the shawl obedient, heavy gold, silver or coral balls were sewn into its ends. At first the dance was called a la Greek, a new name appeared closer to the 30s. This is an improvisational dance, where playing with a scarf and hand movements were of particular importance. The lady went out into the middle of the hall and, throwing up a light scarf, caught it, making various graceful movements with it. All attention was focused on the smoothness and beauty of hand movements. During the reign of Alexander I, female pupils educational institutions started teaching dancing with a shawl. This is how the girls demonstrated their grace, grace and good posture. This tradition survived until the end of the 19th century.

Photographer Lara Kantur

Drawing of a Pavlovo Posad shawl. Postage Stamp Russia, 2013

Pavlovsky Posad, a small ancient Russian city located on the banks of the Klyazma River not far from Moscow, is famous throughout Russia and not only for its amazingly beautiful, bright, colorful, amazing and soul-touching so-called Pavlovsky Posad shawls. Light, feminine, rich in bright colors and positive emotions this is a real work of textile art and today has not lost its relevance; the motifs of this folk craft are used by modern couturiers and fashion designers when creating new fashion collections clothing, shoes and accessories.

History of the origin of the fishery

(Lobzin's factory, where scarves were first made)

They began to produce these magnificent printed scarves and shawls at the end of the 18th century at the manufactory created by two wealthy peasants Labzin and Gryaznov, which later grew into a factory and significantly expanded its production. In those days, almost all women (of any age and class) wore headscarves, so the idea of ​​​​opening such a production was very successful and profitable.

(Indian cucumber pattern)

From the very beginning, the scarves featured designs such as the Indian cucumber, as well as plant motifs eastern origin. By the mid-19th century, floral designs became widespread. The symbol of the Pavloposad scarf is an image of a luxurious rose, shimmering with all the colors of the rainbow. The main style is a large pattern along the edges with a transition to a small one in the center, with bright, catchy flowers in the corners. Classic version traditional Pavloposad shawl developed in the mid-19th century, the number color shades can reach from 10 to 30. The patterns were arranged together, ovals, stars, medallions, figures from flower garlands and ornamental stripes, intertwining with each other, creating a unique and original composition that made these scarves a real work of weaving art.

Main technological features of manufacturing

(This is how the design is printed, stuffed onto a scarf)

Gradually, with the expansion of manufacturing production, the direction of silk weaving appeared; scarves were made from wool or wool blend materials. main feature Traditional pavement shawls are that the designs and patterns were applied using a printed method. They were particularly original and unique. It was impossible to find two identical scarves; each of them was beautiful and unique in its own way.

(The complex work of printing a design is often done by hand)

All the splendor of color shades and the complexity of intricate floral patterns and ornaments were conveyed using a very complex and labor-intensive printing technology for applying paint and patterns. This was achieved by using special carved forms made of wood, on which ornaments and patterns were skillfully carved, paint was transferred onto the fabric using boards called “flowers,” and the contours of the future image were printed on boards called “manner.” In “manners” the patterns were burned out and then filled with lead.

(Printing designs on scarves)

At the end of the 19th century, in the process of making Pavloposad scarves, they began to use a new technique - screen printing, with the help of which the pattern was applied to the fabric not with wooden forms, but with nylon or nylon templates, and the paint was applied by special printers. Thus, appearance scarves have undergone some changes: the patterns have become less intricate and detailed, and strict forms of the ornamental outline have appeared.

(Fedot Vasilyevich Sychkov "Girl in a headscarf")

Initially, the paulka shawl was an element national costume, it was worn both in everyday life and flaunted at festive celebrations, because scarves have long been a mandatory attribute of the costume of any Russian woman, especially married ones. Bizarre patterns and ornaments, bright floral and plant compositions perfectly reflect the depth of the soul of the Russian people, their color and bright originality.