Fashioning an Empire: About the Galleries

Shah ‘Abbas meeting with the Ambassador Khan ‘Alam from India (detail). Iran, Isfahan, ca 1630-1640 CE. Gold, ink and opaque watercolour on paper. MIA.2014.377

Back to Exhibition

The exhibition is organised into four sections, starting with the establishment of the silk monopoly and state-funded manufacturing, which explores the production and technical components of textiles. It illustrates the rise of Isfahan as the imperial capital, and delves into the fashion and trends of Safavid society around the time of Shah ‘Abbas. The last section showcases contemporary commissions created by local designers inspired by the historic objects on display.

Silk for Silver: Shah ‘Abbas’ Strategy to Rebuild Iran

Under Shah ‘Abbas, Iran became a politically stable and economically flourishing country, reaching unsurpassed heights in the visual arts, craftsmanship and architecture. Through the strong economic and structural reforms that Shah ‘Abbas enforced, he was able to revitalise a country exhausted by wars against external enemies and by internal turmoil.

At the very heart of Shah ‘Abbas’ economic policies and reforms was the silk trade. He placed both the production and sale of silk under royal control and soon raw silk, as well as woven textiles and carpets, became Iran’s most lucrative export. Shah ‘Abbas’ reforms filled the royal treasury and allowed him to enact his masterplan of bringing lasting socio-cultural changes to Safavid society.

Making Silk in Safavid Iran

Silk is a natural, strong, soft and lustrous fibre produced by insects known as silkworms, which are fed from the leaves of mulberry trees. First introduced from China in the 6th century CE, silkworms were successfully cultivated in the favourable climate of the northern region of Iran near the Caspian Sea, where silk is still produced today. Under Shah ‘Abbas, the entire production process, from silkworm harvesting to thread dying, was strictly regulated and organised by royal agents. Iranian raw silk, famous for its quality, represented the largest export in the country’s economy in this period.

1 / 3

Silk Textile from the Period of Shah ‘Abbas

This precious silk brocaded textile was produced in one of the royal weaving workshops sponsored by the Safavid court and scattered across Iran. Its brilliant surfaces are adorned with detailed floral patterns popular in Iran as well as India and Europe. Luxury textiles were often presented as diplomatic gifts offered by Safavid ambassadors when visiting foreign courts.

Image: Silk Textile from the Period of Shah ‘Abbas. Iran, 17th century CE. Silk and metal-wrapped thread. MIA.2014.533

2 / 3

Textile with a Lattice Motif

By using a particular weaving process, silk can make velvet. This velvet illustrates the high quality of the fabrics produced during Shah ‘Abbas’ reign and helps to explain their widespread popularity. The technique for this textile is known as voided velvet because areas of raised velvet alternate with areas of flat golden silk to create a dynamic effect.

Image: Textile with a Lattice Motif. Iran, ca 1600 CE. Silk and metal-wrapped thread. TE.206.2010

3 / 3

Silk Tomb Cover with Devotional Inscriptions

Some silk textiles, such as this one, were made to place on top of the tombs in important Shi’a shrines. With their elegant and skillfully woven inscriptions, they show the mastery of Iranian weavers. Such inscribed textiles were used within the Safavid empire but were also sent abroad as pious donations to holy foundations.

Image: Silk Tomb Cover with Devotional Inscriptions. Signed by Master Muhammad Hasan bin Hajji Muhammad Kashani. Commissioned by Hajiyeh Khanzadeh, daughter of Qasim Abiyanegi. Iran, dated 1153 AH (1740-1741 CE). Silk and metal-wrapped thread. MIA.2013.158

Carpets, Symbols of Safavid Opulence

In addition to silk fabrics, carpets were another sought-after commodity from Iran. Most were made of wool, but the most luxurious ones incorporated silk in their structure. The art of carpet weaving reached its height during the Safavid period, with major production centres located across the empire, from Kerman and Kashan to Qazvin and Isfahan. Different grades of carpets were made: those of the highest quality were destined for the courts of Iran, India and Europe, while more commercial products were sold on the international market. Their intricate and colourful designs set new trends among European elites, who had previously preferred carpets from Turkey.

1 / 4

Medallion Carpet

This is one of the largest, best-preserved carpets produced in Tabriz during the Safavid period. Carpets from Tabriz often include a large central medallion as the focal point of the composition. The woolen pile of this carpet is still high and its colours vibrant, a sign that it was carefully used and stored throughout the centuries.

Image: Medallion Carpet. Iran, Tabriz, middle of the 16th century CE. Wool and cotton. CA.20.1999

2 / 4

Carpet with a Design of Palmettes, Cloudbands and Pomegranates

To maximise the revenues from silk trade, Shah ‘Abbas established workshops specialising in silk and carpet manufacture in Isfahan. The royal workshops developed designs that were then adapted and simplified by more commercial enterprises working for the export market, especially in Europe. Repeated floral patterns were easy to adapt to different sizes as per the customers’ requests.

Image: Carpet with a Design of Palmettes, Cloudbands and Pomegranates. Iran, Isfahan, late 16th-early 17th century CE. Wool and cotton. CA.70.2007

3 / 4

Carpet

Carpets made in Isfahan usually have a deep red central field covered with palmettes and scrolling vegetal motifs, and are usually framed with dark green or blue borders. These carpets were traded extensively, including to India, where very similar carpets were produced in imitation of, and appreciation for, the Iranian originals.

Image: Carpet. Iran, 1600-1625 CE. Wool and cotton. MIA.2013.182

4 / 4

Section of a Carpet with Flowers in a Lattice Pattern

Safavid textiles were particularly appreciated by the Mughal emperors of India, and Iranian weavers were also employed in the Mughal royal workshops. They brought with them their expertise and visual language, opening a creative dialogue with Mughal craftsmen. The cross-contact of the craftsmen can be seen in the Indian carpets, which borrow the design features of the Iranian textiles.

Image: Section of a Carpet with Flowers in a Lattice Pattern. India, Hyderabad, ca 1660 CE. Silk and pashmina. CA.7.1997

"Isfahan Is Half of the World"

Around 1590 CE, Shah ‘Abbas decided to move the Safavid capital from Qazvin, close to the northwestern borders to Isfahan, in Central Iran. Isfahan was historically important and strategically located further from the border with the Ottoman empire. It was also at the crossroad of key routes on the silk trade. Shah ‘Abbas transformed the city into the expression of his political ambitions. The heart of the new capital became the monumental public square known as Naqsh-e Jahan (Image of the World). Internationally famous for its impressive architecture and lush gardens, Isfahan attracted visitors from all parts of the world. An old Persian saying describes the city as Nesf-e Jahan (Half of the World). Today, the city stands as the most enduring legacy of Shah Abbas’ powerful vision.

Soon after the court arrived in 1597-98 CE, Shah Abbas established workshops in Isfahan to produce carpets and silk fabrics. To operate the workshops, and then send the fabrics to their various export markets, Shah ‘Abbas encouraged and, at times, forcibly resettled craftsmen and merchants from all over Iran in Isfahan. After 1615 CE, Shah ‘Abbas also declared a crown monopoly over the silk trade, which required anyone who wanted to buy Iranian raw silk and textiles to travel to Isfahan and deal with agents acting on his behalf.

Isfahan’s thriving atmosphere was created by its cosmopolitan, multilingual and very diverse population. During the time of Shah ‘Abbas, Isfahan was home to a variety of religious communities and ethnic groups, including Armenians, Georgians and South Asians. The Armenians played a particularly significant role in state administration and commerce. To capitalise on their international trade network, Shah ‘Abbas forcibly relocated them from Julfa (modern-day Azerbaijan) to the newly founded quarter of New Julfa, in Isfahan. Many other people passed through the city, including travellers, merchants, missionaries and diplomats from all over Europe and India.

The richly brocaded silk garments worn in the painting of the lady shown above suggest she was a noblewoman, and her headdress identifies her as Armenian, possibly from the urban elite of Isfahan. Other notable aspects of her attire are her sleeveless jacket with fur-collar, striped brocade trousers, green high-heeled slippers and jewels.

Isfahan Fashion Guide

If silk formed the backbone of the Safavid economy, fashion was an essential aspect of the Safavid social scene, expressing status and identity, especially in a complex world comprising of people of diverse backgrounds and ethnicities. The historic textiles on display in the exhibition, along with court paintings showing these textiles being worn, give us a view of the highest, luxury end of fashion in Shah ‘Abbas’ time. This picture is rounded out by European engravings and travel accounts that offer a survey of other strata of Safavid society, particularly in cosmopolitan Isfahan. From these diverse sources we learn that the Safavid aesthetic favoured the layering of luxurious fabrics with contrasting patterns. Robes and overcoats were loose and flowing in the 16th century CE but were more fitted, in emulation of European styles, a century later.

1 / 5

Textile

Clothes for members of the Safavid court were typically made of heavily brocaded silks and were status symbols for elites all around the globe. The examples displayed in the exhibition present delicate and abstract floral motifs repeated in rows, including one designed by Sayfi ‘Abbasi, a naqshband (pattern designer) active at the royal workshop.

Image: Textile. Designed and signed by Sayfi ‘Abbasi. Iran, Isfahan, middle of the 17th century. Silk and metal-wrapped thread. MIA.2014.530

2 / 5

A Maiden Wearing a Long Robe with Brocaded Decoration

Robes for women were long and fastened in the front over an undergarment. They often had a wide opening that made them practical for nursing. Women covered their heads with a square cloth held in place by a thin silk ribbon, and later with loose veils fastened with a small tiara or ribbon. Aigrettes, jewels and strings of pearls completed the look.

Image: A Maiden Wearing a Long Robe with Brocaded Decoration. Signed by Reza ‘Abbasi (1565-1635 CE). Iran, Isfahan, dated 1034 AH (1624 CE). Gold, ink and opaque watercolour on paper. MIA.2014.307

3 / 5

A Youth Holding a Shield

Safavid painters often portrayed youths dressed in richly brocaded clothes, short jackets with fine gold decoration and tapered pants. They seem to belong to the urban upper class of Isfahan but might have also been servants who were sometimes clothed in luxury dress to show off their owners’ wealth.

Image: A Youth Holding a Shield. Attributed to Reza ‘Abbasi (1565-1635 CE). Iran, Isfahan, 1600-1620 CE. Gold, ink and opaque watercolour on paper. MIA.2014.309

4 / 5

Portrait of a Youth Holding a Tray with Cups and a Metal Ewer

Fashion trends changed as the 17th century CE progressed. As captured in this painting, men’s robes and overcoats became shorter and were more fitted over the torso and stiffened at the hips, terminating in a flaring skirt. Fabrics in pastel tones with stripes and small floral patterns were now preferred over bold colour combinations.

Image: Portrait of a Youth Holding a Tray with Cups and a Metal Ewer. By Shaykh ‘Abbasi (active 1650-1684 CE) Iran, Isfahan, 1650-1675 CE. Gold, ink and opaque watercolour on paper. MIA.2014.454

5 / 5

Textile

Paintings are not the only source of information on dress in the Safavid period: even the textiles themselves represent figures wearing elegant silks. This panel depicts two ladies with their dog and falcon wearing European-inspired robes, vests and pants. The panel comes from one of the most important silk fabrics of Shah ‘Abbas’ era, made by master craftsmen whose weaving was so fine the details appear to be drawn.

Image: Textile. Iran, 1600-1630 CE. Silk and metal-wrapped thread. TE.204.2010

Fashion Forward

Long after the reign of Shah ‘Abbas, the impact of Safavid silks endured. In the early 1900s CE, Europe witnessed a notable fascination with Persian-inspired dresses and costumes, sparked by the performances of The Ballets Russes, a renowned ballet company celebrated for its Orientalist productions that brought an exotic Eastern aesthetic to the Parisian stage.

Their 1910 production of Scheherazade, which drew inspiration from the tales of the Thousand and One Nights, set the stage for a growing interest in all things Persian. Shortly afterward, artists, fashion houses and jewellers began to create pieces inspired by Persian designs. This included Persian-style tunics, coats and bodices, and even and bags made of real Safavid silks produced by Cartier.