The source of Pałuki embroidery is the folk costume worn by women in Pałuki. No doubt, the factor that influenced its intensive development at the turn of the 19th and 20th centuries was the people’s resistance to Germanization during the partitions, as well as a relatively high level of public education. Dress played an important role in emphasizing Polishness. Despite the fact that urban clothing was widely available, it had the value of “ourness”, understood locally and regionally, but also more broadly as a sign of Polish character and national community. It was a sign of patriotism.
Embroidered wardrobe elements
The oldest preserved embroidered elements of women’s clothing date back to the mid-19th century. It was white embroidery with stylized plant motifs, made on linen or cotton canvas (white or striped), as well as on tulle. Striped fabric usually had small white and red stripes. Black embroidery appeared only on red petticoats, called piekielnice (helldresses). For embroidering used were cotton threads.
The stitches used to create Pałuki embroidery include: blanket stitch, string stitch (also known as water stitch or needle stitch), buttonhole stitch, padded satin stitch. For pads used were stitches in front of the needle (basting) and a chain. Pałuki embroidery also includes batiste, linen and tulle applications. Sometimes there is a looped stitch.
Until 1939, the largest embroidery center in Pałuki was Kcynia, and smaller ones were Żnin and Wągrowiec. The most famous embroidery studio belonged to the Łapczyński sisters – Konstancja and Władysława (born in the mid-19th century), which was later run by Konstancja’s (married name Purall) daughters – Wiktoria, Leokadia and Helena. The last of the family, Helena, married name Pezacka, embroidered until her death in 1966. Before World War I, the second studio in Kcynia was run by the Łakner sisters, about whom, unfortunately, there is scant information. During the same time, in Wągrowiec, bonnets were embroidered and maintained by Franciszka Nowak.