The Indienne in Europe: How Indian Cottons Seduced Fashion and Gave Birth to the Genoese Mezzari

The Exotic Debut and the Revolution of Taste

Between the 17th and 19th centuries, painted or printed Indian cotton — known in Europe as the Indienne — triggered a profound transformation in taste and fashion. These fabrics, such as chintz (from the Indian term chint, meaning variegated or spotted ) and calicoes (from Calicut, a city that became synonymous with printed fabric ), were initially considered too "ordinary" and were used only for bedspreads or to clothe the less affluent classes. However, they soon became the attire of ladies of rank. Daniel Defoe, in 1708, wrote about this phenomenon, emphasizing how the chintz had passed "from the floors to the backs of people, from footcloths to petticoats".

The first samples arrived in Europe aboard ships that mainly transported spices , brought as mere curiosities. Their main attraction lay in the brilliance and solidity of the colours , a quality that could not be achieved with European dyeing techniques at the time. Trade was based on barter : the chiefs of the villages on the islands of Malaysia would not accept money, but pieces of fabric. The Europeans, therefore, bought handwoven fabrics along the Indian coasts to exchange them for spices. Dutch and English trading posts specializing in printed cotton production sprang up in important centres such as Masulipatam, Madras, and Pondicherry. English attempts to send silk or wool fabrics produced in Great Britain to India as trade goods failed , given the scarce demand for heavy fabrics in the hot and humid Indian climate.

The Palampore: A Masterpiece of Cultural Fusion

The product that became the symbol of this exotic fashion was the palampore, a cotton cloth of considerable size (palangpush in Hindi/Persian, meaning "bed cover" ) intended exclusively for export.

The predominant decorative motif was the Tree of Life (or flowering tree). This was a single knotty and undulating trunk that rose from a rocky mound , with branches covered in a multitude of flowers such as roses, carnations, and chrysanthemums.

The composition of the palampore was the result of a complex artistic fusion:

• Oriental Influence: The contribution of Persian influence is undeniable , just as the use of the tree as a decorative motif is part of the oriental tradition.

  
  

• Western Influence: Studies have revealed the weight of the European tradition. Patterns were sent to India from London as early as 1669 to be copied. The luxuriant flowering on the branches of the Tree of Life combined Indian elements with Western species. The style recalled the greenery of Flemish tapestries, verdure and millefleurs.

  
  

This fusion created a product so hybrid that it was considered "exotic" in the eyes of both Europeans and Indians.

The Details of the Indian World and the Adaptation of Taste

Despite the European preference for imported patterns, Indian artisans demonstrated remarkable creative ability. The borders of some palampores depicted different types of palms (borassus, banana, coconut, betel, and date palm) and local fauna, such as mongooses and cobras, with narrative freshness.

However, the market imposed its standards. There were some dissenting voices, as in an order letter which stated: "Let the Indians work according to their own tastes, since the results are better than any sample we can send from Europe". Despite this, during the eighteenth century, the borders of the palampores progressively changed , replacing the undulating tendrils with a floral garland interspersed with lover's knots, of strict French inspiration.

It is interesting to note that Indian art was often denied in Europe: Sir Thomas Roe, English ambassador to India in 1615, complained that the "Indian rarities" actually came from China, identifying Oriental art exclusively with Chinese art. This confusion gave rise to the phenomenon of chinoiserie , the Western practice of creating products in imitation of Oriental styles.

The Exotic Heritage in Italy: The Birth of the Genoese Mezzari

It is precisely in this phase of contamination that the Italian chapter is inserted, with the creation of the Mezzari of Genoa. These large draperies remained the prerogative of the most affluent aristocracy.

The inspiration was undeniably the Indian palampore , with the Genoese artisans of the eighteenth century choosing the Tree of Life motif as the main source of inspiration. A recently found mezzaro, which came out of the Genoese workshop of Speich, features a floral garland border entirely analogous to that of the later palampores.

The only testimony of palampores still in situ in Italy is found on the walls of some rooms in the Villa di Poggio Imperiale in Florence. These samples, purchased in Brussels between 1769 and 1771 on the order of Pietro Leopoldo of Habsburg-Lorraine , were adapted for the walls of the villa and were stripped of their original borders.

The rise of the palampores and the consequent creation of the Genoese mezzari demonstrate a fascinating history of trade, art, and cultural adaptation in the modern age.