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Curtain fabrics

In the 1950s and early 60s, Metsovaara’s weaving mill in Finland made plenty of full wool, light, and descending curtain fabrics in different thicknesses and in a wide variety of colors. The textile artist also enlivened the surface of the curtain fabric with thin effect yarns such as horsehair linen interlacing yarns such as in the Musa curtain fabric whose surface was woven uneven and sparse. Curtain fabrics were woven by hand. Marjatta Metsovaara did not support the long offer of extensive wool curtain collections only because man-made fiber curtains were made known to people in the 1960s through advertising. However, the wool curtains had their own supporters as well. The synthetic fiber was to become popular as a curtain material due to its ease of care.

Curtain fabrics made of man-made fibers were known to consumers after Marjatta Metsovaara started designing furniture and curtain fabric collections for Villayhtymä Oy (wool group) in 1960. It was Finland’s largest weaving mill. The Dralon Borealis collections were extensive and versatile curtain fabrics collections made by Villayhtymä for Metsovaara. Dralon became a very popular curtain material as it was considered to be the best curtain raw material. The Dralon collection was full of colors and flared brilliantly red, green, and blue. All curtain patterns were also available as restrained and soothing in shades of color and in both light and dark shades. Dralon curtains were very resistant to light and dirt and never broke. Ripirapi and Naava became popular export models. The Naava curtain was also prized with the Gold Medal at the Sacramento Arts and Crafts Exhibition in 1966. Bouclé-yarn effects in wool and dralon were frequent in the 1960s with the Himmeli (dimmer) curtain fabric as a great example. This technique made this curtain also lace-like. Metsovaara had the largest variation and range of all curtains made of Dralon in Scandinavia.

The production of the Metsovaara weaving mill in Urjalankylä included also the imaginative and festive-looking Fantasia curtain fabric made in silver and gold mixed with mercerized cotton and was extremely tightly woven.

Translucent curtains were suited to modern architecture and Marjatta Metsovaara realized that modern houses with large window surfaces demanded completely new fabric designs. The light coming from the windows was of great importance because it was part of the architecture of the house. For example, a curtain collection by Eliel Saarinen at their Cranbrook home made this a complete work of art. These translucent curtains were part of the whole work of art: they protected Saarinen’s house privacy and maintained the contact between the indoor and outdoor spaces.

At the end of the 1960s, Marjatta Metsovaara favored man-made fibers like acrylic for curtain fabrics as well. These were thick, sturdy, and airy curtain fabrics. Several different color options consisted of loose-threaded acrylic yarns of different strengths, thicknesses, and shades to weave translucent curtain fabrics like the Cinderella curtain. The textile artist also favored fire retardant fibers from which fireproof curtain fabrics were made that were both thin and sparsely bonded, and thick.

Marjatta Metsovaara was one of the first users of Trevira CS. Stylish heavier jacquard curtains in 100% Trevira CS were developed at the Belgian mill during the 1980s. Diagonaali (diagonal) as a curtain was the reference with its resiliency, impressive beauty, and a very soft and silky touch. This design was derived from the Seepra (zebra) furniture fabric Marjatta Metsovaara redesigned for Artek in the 1960s, which was produced at the Belgian weaving mill as well.

Back to history

Curtain fabrics

In the 1950s and early 60s, Metsovaara’s weaving mill in Finland made plenty of full wool, light, and descending curtain fabrics in different thicknesses and in a wide variety of colors. The textile artist also enlivened the surface of the curtain fabric with thin effect yarns such as horsehair linen interlacing yarns such as in the Musa curtain fabric whose surface was woven uneven and sparse. Curtain fabrics were woven by hand. Marjatta Metsovaara did not support the long offer of extensive wool curtain collections only because man-made fiber curtains were made known to people in the 1960s through advertising. However, the wool curtains had their own supporters as well. The synthetic fiber was to become popular as a curtain material due to its ease of care.

Curtain fabrics made of man-made fibers were known to consumers after Marjatta Metsovaara started designing furniture and curtain fabric collections for Villayhtymä Oy (wool group) in 1960. It was Finland’s largest weaving mill. The Dralon Borealis collections were extensive and versatile curtain fabrics collections made by Villayhtymä for Metsovaara. Dralon became a very popular curtain material as it was considered to be the best curtain raw material. The Dralon collection was full of colors and flared brilliantly red, green, and blue. All curtain patterns were also available as restrained and soothing in shades of color and in both light and dark shades. Dralon curtains were very resistant to light and dirt and never broke. Ripirapi and Naava became popular export models. The Naava curtain was also prized with the Gold Medal at the Sacramento Arts and Crafts Exhibition in 1966. Bouclé-yarn effects in wool and dralon were frequent in the 1960s with the Himmeli (dimmer) curtain fabric as a great example. This technique made this curtain also lace-like. Metsovaara had the largest variation and range of all curtains made of Dralon in Scandinavia.

The production of the Metsovaara weaving mill in Urjalankylä included also the imaginative and festive-looking Fantasia curtain fabric made in silver and gold mixed with mercerized cotton and was extremely tightly woven.

Translucent curtains were suited to modern architecture and Marjatta Metsovaara realized that modern houses with large window surfaces demanded completely new fabric designs. The light coming from the windows was of great importance because it was part of the architecture of the house. For example, a curtain collection by Eliel Saarinen at their Cranbrook home made this a complete work of art. These translucent curtains were part of the whole work of art: they protected Saarinen’s house privacy and maintained the contact between the indoor and outdoor spaces.

At the end of the 1960s, Marjatta Metsovaara favored man-made fibers like acrylic for curtain fabrics as well. These were thick, sturdy, and airy curtain fabrics. Several different color options consisted of loose-threaded acrylic yarns of different strengths, thicknesses, and shades to weave translucent curtain fabrics like the Cinderella curtain. The textile artist also favored fire retardant fibers from which fireproof curtain fabrics were made that were both thin and sparsely bonded, and thick.

Marjatta Metsovaara was one of the first users of Trevira CS. Stylish heavier jacquard curtains in 100% Trevira CS were developed at the Belgian mill during the 1980s. Diagonaali (diagonal) as a curtain was the reference with its resiliency, impressive beauty, and a very soft and silky touch. This design was derived from the Seepra (zebra) furniture fabric Marjatta Metsovaara redesigned for Artek in the 1960s, which was produced at the Belgian weaving mill as well.

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