Toile-de-Jouy
The Toile-de-Jouy (French for fabric from Jouy , named after the original place of manufacture Jouy-en-Josas in France ) is a calico printed with a characteristic design , whereby the printing was originally carried out using engraved copper plates.
history
In the 17th century, colorfully printed cotton items imported from India by Portuguese sailors came into fashion both as outerwear and as upholstery and decorative fabrics. These fabrics, known as indiennes , had the same splendid colors as the silk fabrics customary up to that time , but were much easier to care for and, in addition to their relatively low price, were more comfortable to wear. In addition, there was the growing preference for chinoise designs in Europe that continued until the end of the 18th century . The increasing competition with silk fabrics prompted Louis XIV to protect the French textile industry, which was primarily oriented towards the production of silk goods. This was done by Ludwig banning the import and manufacture of cotton fabrics. As a result, France was cut off from the booming cotton fabric market. The abolition of this ban in the course of the economic liberalization of French economic policy in 1759 led to France being inundated by foreign cotton products and - in the absence of its own skilled workers - also by foreign calico textile workers who tried to meet the excessive demand. The best-known foreigner was Christophe-Philippe Oberkampf from Württemberg , who in 1760 opened a calico printing company in Jouy-en-Josas near Paris , which soon became the leading company on the French market.
The Toile-de-Jouy
The real toilet is determined both by the printing process and by its characteristic design. Oberkampf was the first in France to print calico using engraved copper plates, which - provided that the surface structure of the fabric was sufficiently fine - made it possible to print very delicate and very sophisticated patterns such as detailed figural or floral depictions. The Toile-de-Jouy design is two-tone: either red - this is the typical color scheme - or blue is printed on white fabric. The motifs are subtle chinoise or pastoral scenes, which are combined with numerous finest tendril and flower arrangements. The effect corresponds roughly to that of the typical China porcelain, where fine blue (rarely red) decorations are applied to a white background. In addition to the use of the then modern motif themes, it was precisely this effect that gave the Toile-de-Jouy its resounding success. Although there is no longer a textile industry in Jouy itself, the Oberkampf designs are increasingly being used again today and are used in both outer clothing and (room) decoration.
Web links
- On the history of the material (French)
- Official website of the Musée de la Toile de Jouy (French)
- Explanation of terms in "Die Welt" from November 3, 2008 [1]
- Article from 2017 in "The Irish Times" about the history of the Toile de Jouy [2] (English)
- Article (with photos) of 2014 on the history [3] (English)
literature
- Aziza Gril-Mariotte: Les toiles de Jouy. Histoire d'un art décoratif, 1760–1821 . PU Rennes, Rennes 2015, ISBN 978-2-7535-4008-8 .
- Mélanie Riffel / Sophie Rouart: La toile de Jouy . Citadelles & Mazenod, Paris 2003, ISBN 2-85088-191-0 .
Individual evidence
- ↑ Jenny Udale: Textiles and Fashion. Branch of the fashion industry involved in the manufacture of fabrics. Popular or newest style in clothing, hair, decoration or behavior . Stiebner, Munich 2008, ISBN 978-3-8307-0846-9 .
- ↑ Barbara Schröter: Material for a thousand and one years. The textile collection of the general building inspector for the Reich capital (GBI) Albert Speer . Books-on-Demand, Norderstedt 2013, ISBN 978-3-7322-5300-5 , pp. 192 .