Des couleurs éthiques et solidaires
A Bit of History
In the past, khayameya hangings (appliqué patchwork) were used as decorative panels in the grand tents of princes and the wealthy.
In the photo of the pavilion, the tent has been turned inside out so that the panels visible from the inside can be seen from the outside. In the other photo, a room has been completely covered with drapes to allow visitors to appreciate the ambiance of the space.
This photo comes from Dr. Sam Bowker’s blog, who is undoubtedly the leading expert on the art of khayameya. The article is fascinating. To learn more, you can also read his book: The Tentmakers of Cairo.
However, neither of these recreations captures the monumental nature of these tents: they were true ambulant castles.
You can easily imagine the work and cost involved in supplying such a large quantity of quilts. It was a luxury item, accessible only to the wealthiest individuals.
In the 19th century, the art experienced a remarkable revival during the khedivial period. The Ottoman influence is evident in the popular patterns (patterns of the turned tent). At that time, drapes were widely used outdoors, during celebrations, and in cafes.
Is this partly related? After the fall of the Ottoman Empire, khayameya hangings fell out of favor. The affluent population preferred more Western decorations. While the disinterest of the Egyptian elite is clear, the drapes continue to be used in the streets during celebrations. However, buying new quilts to replace the old, worn ones is increasingly out of reach for Egyptians.
The last surviving artists rely on tourists, the only ones who have the means and appreciate the quality of their work. These quilts, which have been a part of Egypt’s soul, seem destined to disappear from the streets where they have always been present. Unless...
The Renaissance of Khayameya in a New Form
Is there a way for khayameya to survive in Egypt when those who can afford it lose interest, and those who want it cannot afford it?
In the 1960s, screen printing became popular. Andy Warhol used this technique to reproduce his famous Marilyns. What if screen printing were used to transfer the beautiful patterns of traditional khayameya hangings onto fabric?
This was done. And thus, the term khayameya now refers to both the exquisite appliqué patchwork hangings and the printed fabrics featuring patterns inspired by these patchworks. The artwork, a unique piece and its infinitely replicable photograph.
This new form of khayameya has gained real popularity due to its low cost and its opaque, intense, and durable colors—qualities essential for a product meant for outdoor use.
As for me, I first discovered khayameya during my initial travels to Egypt in the late 1990s. It wasn’t until 2007, when I settled there, that these drapes and their fabric replicas caught my attention.
Upon returning to France, I remained nostalgic for Egypt and became increasingly fascinated by this fabric, which so vividly represents the country with its bright colors.
In 2016, I decided to take the leap, purchasing a hundred meters of fabric and a few patchwork drapes (from Tarek el-Safty). In 2017, Couleurs du Nil was launched. My goal is to introduce and share the beauty of khayameya, in both its forms, outside of Egypt.
This is the story of khayameya (and my story) as I tell it up to 2021. From that date, an extraordinary encounter will allow me to write a new chapter in the history of these fabulous fabrics.
A Wonderful Encounter
In 2020, I discovered a khayameya fabric manufacturer on social media. Looking to diversify my suppliers, I reached out to him. Fortunately, he speaks excellent English. It was the Covid year: no travel to Egypt that summer. A friend acted as an intermediary, helping me replenish my stock; he also bought a few rolls of fabric from this new supplier.
In the summer of 2021, I met him in person. He is around 45 years old and seems very friendly. I also met his father, who speaks both English and French. I learned that his son understands French well and speaks a bit, as he attended French-speaking schools. However, since he doesn’t practice it much, he prefers to communicate in English.
His father, Farouq, is a vibrant character. At 85 years old, he has extensive experience in the field and knows everyone in the khayameya market. I give him the names of my suppliers, and he reassures me that they are reliable and have quality products. He also recommends other people to me.
Now, every year, I visit him. I don't buy much from him, but I am happy to see him. He shares his story with me. He enjoys telling stories, and fortunately, I enjoy listening.
Farouq is a born entrepreneur. At just 23 years old, he decides to venture into fabric printing. This is in the late 1950s in Egypt. He finds a small space in a building to start his small business: he will print fabric for women’s clothing. And it works! Perhaps too well, to the point of provoking jealousy and envy. An employee, hired by a rival buyer, sabotages the equipment, rendering it unusable.
He then decides to make a radical change. No more women’s fabrics; he will now print cotton fabric with patterns similar to those the famous patchworkers sew as appliqué on their hangings. The demand is there, as several merchants have asked if he could supply fabrics with such decorative patterns.
Farouq will thus be the first to offer these distinctly Egyptian fabrics. He already knows screen printing. He just needs to prepare new screens, for which he creates patterns inspired by the appliqué hangings.
Here’s what artisanal screen printing looks like with a mini frame and a single design. Now imagine the frames created by Farouq, knowing that his largest panels are monumental blocks measuring 5.50 meters long by 2.80 meters wide, which requires as many frames of the same size as there are designs. And for each design, there must be as many frames as there are colors. Even for the smaller models, like those offered in the shop, which are 2 meters by 1.50 meters, at least two men are needed to handle the frames.
His small business prospers to the point where other entrepreneurs venture into the field. Without intellectual property protection, his designs are copied. Farouq is very proud of this: it seems that everyone benefits.
When the Small History of Khayameya Intertwines Once Again with the Great History of Egypt
Everything changed in 2011. After the popular uprising and the fall of Mubarak, the country experienced a period of instability: thefts, vandalism, and assaults became rampant. Farouq's factory was robbed, and he lost all his printing equipment. It is possible that his stock stored in another nearby building escaped the destruction. However, ten years later, Farouq confides that he could not bring himself to return, and he is uncertain about the condition of his stock, or even if it still exists. There were hundreds of rolls of cotton fabric printed with khayameya patterns, representing a lifetime of work.
In 2023, he shares great news with me: he went there! The stock was neither stolen nor damaged. However, the dust, which had infiltrated everywhere, caused him to lose about a quarter of the goods. Nevertheless, he managed to save hundreds of rolls of fabric, which he showed me. Some are still dirty, but he is gradually having them cleaned by a professional. The colors still hold wonderfully.
Indeed, these fabric rolls were not printed with the modern machines that offer a much better finish. They are full of defects. Farouq told me that often, the workers would retouch the most significant printing flaws with a brush. However, they are the only khayameya prints on 100% cotton canvas, a heavier and very high-quality fabric. In the millennia-long history of khayameya, they represent the (missing and then found) link between patchwork appliqués and the khayameya prints that are now found on every street corner, including as stickers. Farouq was the first and the last to produce these panels using this old technique.
Today, khayameya fabrics are printed using rotary screen printing or cylinder printing techniques (as shown in the video)
Fascinated by khayameya fabrics and appliqués for so many years, I am deeply moved by this story. I recognize how fortunate I am to have met Mr. Farouq.
In 2023, he was pleased to have recovered a significant portion of his old stock but wondered what he would do with it. Likely to sell it, but to whom? Will these rolls find buyers in Egypt, where rotary and digital printing techniques offer a better finish?
That’s why, in the summer of 2024, I decided to bring back with me some panels of this precious heritage because of their rich history and the sentimental value I place on them. Will you be touched by their story? Will you appreciate them despite their printing defects? Perhaps it is these very defects that give them a unique charm, perhaps even a hint of soul...
