In a quiet nook of the bohemian district of San Frediano, hidden behind an 18th-century iron gate that opens onto a whimsical wisteria-covered alleyway, lies a Florentine cultural treasure: the Antico Setificio Fiorentino, or Vintage Florentine Silk Mill, which has been producing treasured textiles since 1786.
To enter by the atelier’s massive, worn timber door is to slide again by time and revisit the enchantment and great thing about a extra opulent period.
Inside, 18th- and Nineteenth-century timber and iron looms, some towering over 16 toes tall, clatter furiously in rhythm with tens of 1000’s of luminous silk threads, weaving warp and weft yarns into luxurious materials, guided by the expert fingers of a choose staff of knowledgeable artisans.
Since transferring to Italy in 2003, I’ve grown more and more fascinated with the nation’s extremely proficient artisans, their intriguing workshops and the standard of their merchandise, notably within the Tuscan capital of Florence.
After I first visited the Antico Setificio Fiorentino in 2018 for a non-public occasion, I used to be captivated by the enormous historic looms and the beautiful materials they produced. Their histories, I discovered, have been entwined with Renaissance society.
There are round 200 historic material designs within the establishment’s archive which were handed down by generations of households. Some bear the names and designs of Italian and European monarchy and the Aristocracy: the lampas of Princess Mary of England; the brocatelle of Corsini, Guicciardini and Principe Pio Savoia; and the damask of Doria, to call just a few.
Many of those households practiced sericulture — the elevating of silkworms and the manufacturing of silk — and silk weaving in Florence in the course of the period of the Home of Medici, which rose to energy within the fifteenth century.
Silk was launched to Italy by Catholic missionaries working in China across the yr 1100. The artwork of silk weaving and sericulture in Tuscany flourished within the 14th century; the primary manufacturing was in Lucca, although it quickly expanded to Florence, Venice and Genoa.
At peak manufacturing, there have been round 8,000 looms working in Florence. Immediately solely a handful of these stay, eight of that are in manufacturing within the Antico Setificio Fiorentino. (These eight looms have been donated by noble households within the 1700s.) In whole, the mill homes 12 looms, together with the more moderen semi-mechanical machines.
On the coronary heart of the silk mill is a machine known as a warper, which prepares warp yarns for use on a loom. This specific warper, designed to function vertically, was constructed within the early Nineteenth century, in keeping with authentic drawings made by Leonardo da Vinci in 1485.
“We use it in the best way that it was designed — powered by hand,” stated Fabrizio Meucci, the technician and restorer on the workshop.
“It’s not simply there for its magnificence,” Mr. Meucci added, describing the workshop as a “residing and dealing mill that appears like a museum.”
It’s mesmerizing to look at Leonardo’s warper machine in movement, spinning and completely aligning warp threads from a row of twirling spools onto the creel, which gathers the valuable threads. These warp threads are then used to weave trims, ribbons, cords and braiding — used for every thing from upholstery, furnishings, and mattress and tub linens to style clothes and niknaks.
Dario Giachetti, a 30-year-old artisan, has been working within the textile business for the previous 10 years and solely not too long ago joined the staff of weavers on the Antico Setificio Fiorentino.
“There’s a lot to be taught and comprehend in a spot like this — even for anyone like me, with my stage of expertise,” he stated, including that it’s magical to see the completed product realized from the uncooked supplies.
“You actually get to see the material develop and are available to life,” he stated, describing the method from begin to end — from the pure silk fibers to the tinting levels, the winding and spooling of the threads, the creation of the cylindrically formed skein of yarn, then on to the bobbins, the warp threads after which, lastly, the looms.
Your entire course of takes time, and hand weaving particularly could be very sluggish. It might take a whole day to supply simply 15 inches of a material like damask, with its intricate designs.
Different materials with thicker threads — such because the brocatelle Guicciardini, for instance, which is usually used for upholstery — could be produced extra rapidly, maybe as a lot as six or seven toes in a day.
Exterior the partitions of the Antico Setificio Fiorentino, the artwork of manufacturing handmade textiles is essentially vanishing, Mr. Meucci, the technician, stated. Making industrial silk materials with fashionable machines is quicker, simpler and cheaper. Most producers can’t justify the expense.
However for Mr. Giachetti, the weaver, the ultimate product encompasses a lot extra than simply the technical processes concerned in its creation. When he weaves, he instructed me, he provides not simply his time, but additionally his coronary heart, his ardour.
“You aren’t simply shopping for a material,” he stated. “You’re additionally receiving part of my coronary heart.”
“This,” he added, “is the actual distinction between an artisanal textile and one made industrially.”
Susan Wright is an Australian photographer based mostly in Italy, the place she has lived since 2003. You possibly can comply with her work on Instagram.
