Not without my shawl!
The Nîmes textile industry gives in to the fashion for the so-called cashmere shawl
Did you know?
In the 19th century, Nîmes was the third largest producer of so-called Indian cashmere shawls in France, after Paris and Lyon.
Châle (1840) by AnonymeMusée du Vieux Nîmes
These long or square shawls were made of wool or cashmere from Tibetan goats in eastern India.
Châle (1840) by AnonymeMusée du Vieux Nîmes
A medium-sized shawl required two weavers over a period of 18 months. Three years were needed to make the finest shawls.
It was a very luxurious product at the time!
Châle (1830/1840) by AnonymeMusée du Vieux Nîmes
In the 19th century, the English East India Company imported goods from this region of the world to Europe. English women wore these shawls 15 years before the French.
In France, Josephine Bonaparte started the trend of the once-called schall, which was worn on the shoulders. Her wardrobe contained nearly 500 of them, of different sizes and colors, according to the inventory of 1809!
Lyon and Nîmes restructured their factories. The shawls made in Nîmes were characterized by their bright colors and patterns of Indian origin called buta. Toward the end of the 19th century, shawls went out of fashion and production stopped in France.
Vue d'une salle des textiles du Musée (21ème siècle) by AnonymeMusée du Vieux Nîmes
In Europe, shawls were first made on a drawloom and later on a Jacquard machine, invented in 1801, which eased the manufacturing process. These looms used a mapping system that was translated in sequences of punched cards, which allowed automated production.
How are the patterns made?
First, a preparatory drawing of the shawl is made, which is called a vernis (varnish). The vernis is made on laid paper rendered translucent by a varnish consisting of a resinous substance and turpentine. The pattern is created on the reverse side of the paper in the desired size of the fabric.
Then, to replicate a woven pattern of the vernis, a specialized draftsman maps the pattern onto finely squared and numbered paper. This mapping is then translated into punched cardboards with instructions for the mechanics of the Jacquard loom.
These different steps involve complex work: the design of the patterns cannot be imagined without understanding the Jacquard mapping and weaving system.
Pente de châle, dit le "Nou Rouz" (1838) by Couder AmédéeMusée du Vieux Nîmes
In Nîmes, shawl patterns were created by designers from specialized schools: The École de Dessin (Drawing School) and the École de Fabrication (Manufacturing School).
They mostly admitted the children of manufacturers and workers in the textile industry. Chemistry, geometry, and mechanics were taught.
Cape ou vêtement d'intérieur à motif cachemire by AnonymeMusée du Vieux Nîmes
The popularity of the shawl faded in the middle of the 19th century. Some shawls were then recycled into a piece of clothing called a visite (visit), something between a coat and a cloak. With the addition of trimmings, this garment is in keeping with the tapissier (tapestry) style of the late 19th century.
Realization: Ville de Nîmes - Musée du Vieux Nîmes
Iconography: © Ville de Nîmes - Musée du Vieux Nîmes
