By James Russell
“Saucy!” thought I, as I looked closer at the etched picture that had caught my eye whilst paging through a sample book of Toile de Jouy fabrics. At first glance it was a blue on white monochromatic Pastoral scene of “country folk” frolicking amongst ‘vignettes’ of farm buildings, sheep herding, farming, hunting and the like, but on closer inspection I noticed that one of the young farmers had his hand down the cleavage and was cupping the breast of a maiden, whilst another young lad had his arm up the voluminous skirts of a shepherdess.
Modern marketers will tell you that “sex sells” and I’m sure this was as true in the 1700 & 1800s as it is today. It is also said “that the Devil is in the detail” and I suppose it is “the detail” that first intrigued me about Toile de Jouy. Looking closer at some of the pictorial designs I became interested in the stories behind them. I’m by no means a history buff, but I do have a curious mind that questions.
As Europe started trading with India, cotton became a popular fibre for making cloth, so much so that the domestic wool and silk industries in both France & England started to suffer. In 1686 France placed a ban on both domestic & imported cotton fabrics, a ban that was only lifted after 70 years in 1856. After all this time, cotton must have seemed like a brand new commodity to the people of the day! Incidentally, the British also placed a ban on imported chintz (a basic cotton cloth) from 1701, and in 1720 to 1774 on all cotton fabrics, mainly due to cheaper Indian imports (so what’s new?)
Like any entrepreneur, a young German engraver & colourist called Christophe-Philippe Oberkampf and his younger brother saw the gap and “went for it” setting up a printing press in Jouy-en-Josas, a small village on the banks of the river Bievre, 16.4km south-west of Paris. The initial designs, usually of flowers and fruits, were copied from books of engraved prints carved into small wood printing blocks. (One supposes that the laws on copyright were not as strict as they are today.) The clean waters of the (soon to be polluted) river were essential for the mordant printing methods used by the brothers. When they started the factory, the only piece of “furniture” they possessed was the printing press which they used to sleep on at night.
The initial printing methods used a mordant, a substance used to set dyes on fabrics. Once printed with the mordant, the fabric was then dyed using various vegetable dyes. The fabric was then soaked in an acid such as stale cow’s urine or vinegar that acted as a fixative locking the dye to the printed mordant area of the cloth. It was then washed in the river to remove the loose dye, and dried on pontoons on the river to let the sunlight work as a bleaching agent on the non-dye fixed areas. This process was repeated a number of times until the background colour returned to white or cream and the print stood out.
There is a story, possibly an “urban legend” that Oberkampf sent his brother to Manchester to study (and steal) ideas from the Manchester mills. He is said to have written out his findings on pieces of cloth using a mordant solution which was invisible to the naked eye, but when dyed and treated using their printing method, revealed all. Having established that copyright was not sacrosanct, I’m not above believing in a little industrial espionage was amiss.
Using only the best quality cotton fabrics and with his Germanic adherence to detail, demand for the printed cloth (toile) from Jouy (de Jouy) grew rapidly and by 1774, only 14 years later, the company was employing 900 workmen. Over 30,000 woodblocks were utilized in the printing of the fabrics until in 1770 Oberkampf introduced the etched copperplate roller technique of printing fabrics. From then until the factory closed in 1843 some 700 copperplate designs were used. For nearly 80 years the designs from Jouy recorded in pictorial form a kind of journalism that depicted everything from historical happenings, travel (popularizing Indienne, Japonaise and Chinoiserie designs that proposed to picture people & everyday life in those far away lands), fashion trends that reflected the fascination with Egypt, inventions such as the flying balloon, politics, the Court & Royalty, architecture, the classics, modern literature and the arts.
By 1810 Oberkampf had made “toile” a household word/name not only in France, but throughout Europe and America as well. In today’s marketing terms this could possibly be seen as one of, if not the first time, that a “brand name” became synonymous with the product, much like we might say Hoover, Durex or Kleenex today. Many of the designs such as “Les Monuments d’Egypte”, “Les Traveaux de la Manufacture” (which depicts the manufacture and printing process of toile de Jouy), “Le Ballon de Gonesse” (depicting the first balloon flight from Paris to Gonesse) and the Robinson Crusoe Toile are considered classic toile de Jouy designs and were bought over by other French fabric companies when the company closed. Many of these classic designs are still in production today.
Although there were a number of other companies producing printed cotton fabrics in France, England and later America, none were as popular as Oberkampf’s company. The Napoleonic Wars and the self-sufficiency of the American fabric industry contributed to its demise, yet still today companies producing “toile de Jouy” style fabrics continue the tradition of naming each “toile” such as “Glasgow Toile” by Timorous Beasties or the modern version of the “Ballon de Gonesse”. To commemorate the 200th anniversary of the balloon flight, the children of Gonesse high school painted a mural of the famous toile as a mural on their school wall. Patrick Frey, then head of Pierre Frey fabrics was so taken with the mural that he bought the rights to the wall and had it converted into a toile.
Originally designed as dress fabrics and later used for interior décor, toiles have become perennial, and are now used on anything from wallpapers, ceramics and gumboots to beanbags, directors chairs, lampshades and ‘takkies’. So next time you see a toile being used and are tempted to dismiss it, to take it for granted, to overlook the detail by consigning it to the category of “pretty picture fabric”, look a little closer for the Devil is in the detail along with sex, drugs and rock & roll too!
5 thoughts on “James Russell on the History of Toile de Jouy”
A long read, but certainly very, very interesting James. Even by today’s standard’s Oberkampf did very well to grow his business to include 900 employees in a period of 14years. That is some growth he achieved. I would be interested to know what his wage bill was every week. He must have had phenomenal sales figures… I guess that the moral of the story is (of dear no pun intended…) like you said… ‘see a gap and go for it’. One has to be super duper creative these days as there aren’t many gaps left.
The image with the Harlequin Fabrics’ bold toile ranges is wonderful!
I love it too! A classic French-style sofa, traditional Toile scenes, and then the contemporary shocking pink colourway! What a contrast!
This is a great explanation on the history of the ‘Toile’ design. Over the years our company has printed many of these type of designs onto cotton fabric. I did not know of such interesting facts and am so glad I found this article.