From Crowd Favourite To Faux Pas: Why History Of India's Chintz Fabric Must Be Rewritten

Chintz, a form of ancient Indian Kalamkari art, has had quite a fascinating history– from getting banned due to excessive competition in the European market, to being considered ‘tacky’ somewhere along the line (sour grapes much?), and now seeking a chance for a modern-chic revival. This ornate fabric typically reminds us of antique upholstery or vintage English gowns but finds its roots in the Coromandel region of Golconda, present-day Hyderabad. The earliest record of Chintz dates back to the 16th century; however, historians believe the legacy of the textile extends far beyond that. 

Chintz: The Fabric That Was Banned

The term ‘Chintz’ for this historically rich fabric comes from the Hindi word ‘chheent,’ meaning speck or spray, which was then anglicized. It is the name given to a light-coloured Calico fabric intricately painted, printed, or dyed with designs featuring flowers, leaves, fruits, animals and more nature-inspired elements. 

Chintz reflected a blend of Indian ancient art and Mughal design sensibilities. It flourished in India decades before it created a buzz worldwide. The fabric was introduced in Europe in 1498 when Vasco de Gama arrived in Calicut. Its vibrant colours and elaborate designs were unlike anything seen in Europe at the time. 

The fabric quickly captivated the interest of the European elite and by the 1600s, the English and French traders exported it in large quantities. By 1680, millions of pieces of Chintz were being imported into Europe each year. The demand grew so exponentially that France ultimately declared a ban on it.

In 1720, the Parliament of Great Britain enacted restrictions on the “Use and Warnings in Apparel of imported Chintz, and also its use or Wear in or about any Bed, Chair, Cushion or other Household furniture". Eventually, the import of calico and imitation of European-made Asian textiles was also banned in Spain. 

Despite these ‘bans’, the Europeans often found a way to adorn themselves and their homes in Chintz. They learnt to imitate the dyeing process and reproduced the designs with some original patterns. One of these interpretations was toile de Jouy, manufactured in France’s Jouy-en-Josas, between 1700 and 1843. 

The ban was eventually lifted in 1759 in France after the Europeans got the knack of reproducing the detailed Chintz in their own countries. Eventually, the original designs of the Indian-made textile were given an English adaptation and the term Chintz came to describe any floral printed cotton fabric.

Post ‘Chintz Craze’ Era

Ironically, Chintz's popularity waned in the 18th century as it became associated with Oriental (Eastern countries) stereotypes, according to design researcher Pallavi Chamarty in her paper, Kalamkari and the Anglicised Chintz. Then, the Industrial Revolution further diminished the appeal of the hand-crafted art.

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While some elements of Chintz were still being used as ‘statement vintage pieces’ in contemporary design, most mainstream fashion had moved away from this Indian art form. Eventually, the Chintz started to be considered a design faux pas, which led to the birth of the term ‘chintzy’ which means poor quality.

Indians Embracing Chintz

However, centuries down the line, a renewed appreciation for historical design elements and a growing interest in reviving cultural heritage have started to put Chintz back into the spotlight in India. Many sartorial experts are working with the fabric to reintroduce it beyond just glass boxes in museums.

Rishika Jain, founder of the Indian apparel house Nero India told SheThePeople, “Chintz is the backbone of Indian florals today, with its intricate, delicate patterns that are both soothing and visually appealing. I feel it's exciting to see it getting reimagined in such a variety of ways. People are blending tradition with modernity through digital prints and embroidery, creating monotone, tonal, and multicoloured designs. This revival deeply resonates in the Indian market, reflecting our growing appreciation for heritage in contemporary fashion.”

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Many historians are also training artisans to reenvision Chintz in the modern world. Rishika Jain noted, “This renewed focus on Chintz isn’t just about fabric; it’s about celebrating India’s vibrant cultural legacy, reimagined for today’s style-conscious consumers, making it a timeless favourite.”