Compositions

Compositions in Pałuki embroidery vary depending on the part of the outfit on which they appear. Bonnets with long band ties have embroidery in the form of bouquets. Bands appeared at the end of the 19th century – first small and short, over time their form was wider and longer. This allowed for the use of increasingly rich embroidery, initially extensive floral motifs or one bouquet (flowers, leaves). Gradually, more bouquets (up to three) appeared on the bands along the axis of symmetry – it also depended on the wealth of the owner. The bands of the bonnet on three edges were finished with large serrations with buttonholes. Linen bonnets had an openwork structure thanks to a big number of holes. The bottom of the bonnet usually had the same pattern which was on the band.

The ruffs and edge of white petticoats are finished with serrations. The ruff serrations may be semi-circular or triangular, and the serrations on edges of white petticoats are always semi-circular. A characteristic feature of the finishing of the ruff and white petticoat is a great number of small holes. In the case of ruffs and white petticoats there are modest motifs of twigs, leaves and flowers. However, on red petticoats the dominant pattern is always a winding twig with various flowers, leaves and poppies. They are always finished with large serrations.

A typical pattern on aprons is a twisting twig with motifs of flowers, leaves and grapevines. The twig either winds around three edges or appears only at the bottom. There is also a composition in which a pattern, which is repeated several times, appears rising from the edge serrations.

The motifs and patterns of Pałuki embroidery transferred to contemporary table and bed linen depend on their practical function. Patterns and motifs are taken mainly from bonnets, but also from other parts of the costume. The composition is original, guided by its practical but also decorative function.