Temporary exhibition

 

WHEN FLOWERS BECAME TEXTILES

 

BAL(L)ADE

a history of floral motifs and textile design

with the support of the Musée Yves Saint Laurent Paris, agnès b. and Leonard Paris

26 October 2018 – 29 September 2019

With the partnership of

This exhibition offers a journey through time, recounting the extraordinary history of flowers and textile design from the 18th century to the present day presenting examples from the museum’s extraordinary collections. The exhibition explores how the colors and fragrances of flowers inspired textiles patterns and motifs.  The exhibition explores how draftsman, inspired by scientific expeditions, the rise of horticulture and fashion, copied after natural flowers and invented new floral motifs transferred their marvelous drawings to patterns for fabrics. By the twentieth century, designers effectively “staged” their flowers that were then copied by both artisanal and industrial manufactures. The exhibition is organized around three main themes; Natural Flowers and Ornamental Motifs, The Art of Representing Flowers, and Wearing Flowers.

Floral sample, roller copper and wood block printing on cotton, England, 1790

Fashion engraving “18th century dress”, Paris, Mulhouse, manufacture Steinbach, Koechlin & Cie, lithograph

Fabric for home furnishing, Alsace, Mulhouse, manufacture Boeringer-Zurcher & Co. 1903, printed with wood block on cotton

Natural and Ornamental Flowers

Flowers play a vital role generating the creative processes of fabric production. Since antiquity, flowers inspired palmettes and florets, but it was not until the Enlightenment that imitation of natural blooms were applied as the major motifs on fabrics. In the eighteenth century, a “flower” also means a new fabric. This shared terminology shows that the fashion and flowers were henceforth joined in the textile industry both for costumes and furnishings.

Fabric for home furnishing, sowing of tulips ,France, unknown manufacture, 1889, wood block printing on cotton

Fabric for home furnishing, Alsace, Mulhouse, Thierry Mieg & Cie factory, around 1880, roller copper printing on cotton

Fabric for home furnishing, bouquets of narcissi, tulips and hyacinths France or England, unknown manufactory, 1927, wood block printing on cotton

Fabric for home furnishing,  Switzerland, publisher Christian Fischbacher, 2004, inkjet printing on cotton

Sample for kimono pink pattern and various flowers, Japan, Kyoto, Ohara House, 1980, hand stencilled silk

Fabric for home furnishing “Catherine”, France, publisher and draftsman Manuel Canovas, 1983, screen plate printing on cotton

The art of representing flowers

In the 18th century the diffusion of floral motifs on fabrics encouraged designers to creatively renew their art. Designers competed and inspired one another with imaginative combinations of flowers, branches, seedlings, crowns or bouquets were exploited as backgrounds, petals and stems placed at interposing scales to vary compositions. The ability to apply recent discoveries in chemistry offered a wide range of colors, transforming fabrics into sophisticated trompe l’oeil compositions. At the same time, the representation of flowers followed artistic trends: the refined flowers of the eighteenth century and realistic compositions of the second half of the nineteenth century were followed by the avant-garde art movements of the first decades of the 20th century.

Wearing flowers:  an artistic statement

Since the eighteenth century, the printed calico turned to flowers to inspires springtime. Flowers were particularly popular for women’s clothing and fashion accessories. The calicos offered many variations that could be adapted to changing seasons, styles, and modes.  Year after year, attempts to copy after flowers, either imitating natural blooms or by abstracting from them, continues to inspire industrial designers and creators.

The flower is omnipresent in the world of fashion and haute couture. An inexhaustible source of inspiration for the greatest fashion designers, who have transformed and metamorphosed flowers to express their own styles. For the exhibition, The Museum of the Printing on Fabrics, three emblematic designers having each in their own way wrote a page of the history of the flower in the world of fashion:

Synonymous with romance and freedom, printed fabrics are timeless in the history of fashion.  Haute couturier Yves Saint Laurent never stopped adorning his creations with wildflowers, garden motifs or exotic species during the forty years of his fashion house from 1962 to 2002. Through ten models selected with the Yves Saint Laurent Museum Paris, the floral print is creative and colorful, fruit of a close collaboration between the designer and fabric designers such as the house of Abraham or artist Renée Brossin de Mere.

© Maurice Hogenboom – DR

© Yves Saint Laurent – DR / Musée de l’Impression sur Etoffes

© Yves Saint Laurent – DR / Studio Yves Saint Laurent, story board “Long evening” (detail) collection Spring-summer 1989 haute couture

For almost four decades, agnès b. has become the symbol of a simple timeless modernity. Behind this name, Agnès Troublé, patron, collector, filmmaker, is engaged with in many humanitarian projects, but she is above passionate about everything she encounters. Among her passions: flowers, ubiquitous in her collections. She photographs them to create exclusive printed fabrics.  The rose is one of her favorite motifs for her printed fabrics that multiplies ad infinitum creating a rich and romantic universe.

For the exhibition “WHEN FLOWERS BECAME FABRIC”, agnès b., Contemporary fashion designer, offered to the Museum the privilege of the creation of the scarf “La rose de agnès b., born of a photography taken in his garden – recurring inspiration of the creations of the house.

© agnès b. / Musée de l’Impression sur Etoffes

© DR

In 2018, the fashion house Leonard Paris celebrates its 60 anniversary. With the emblem of the orchid, a wild and fragile flower, Maison Leonard has known, during all these years how to exploit the art of flowers, both representing them and on costume design. Leonard owes is success to re-transcribing to perfection the delicacy and fragility of each printed flower. The fabric as a flower and the flowers are the identity of Maison Leonard in a unique and iconic style.

© Léonard Paris / Musée de l’Impression sur Etoffes