(Le Comte Amédée-David de Pastoret, detail, Jean-Auguste-Dominique Ingres, 1826. Oil on Canvas, 103 x 83,5 cm. Chicago, Chicago Art Institute)
Specialists in Ingres' work coincide in stressing that posing for one of his portraits was not the typical static activity for the model: the specificities of the artist transformed it into a genuine collaboration between the artist and his subject, in which there would be no shortage of discussion as to which dress, jewels and accessories would be most becoming and would best represent the idiosyncrasies of the personage.
(Edme Bochet, 1811. Oil on Canvass, 94 x 69 cm. Paris, Musée du Louvre)
So, when we contemplate the portrait of Edme Bochet, on display in our exhibition, we see a fragile, sophisticated figure, a seducer connected with that fantasy, which for French functionaries, entailed travelling to Rome, as a result of the transfer of the imperial seat; nonetheless, a historical study of the painting reveals something else: hidden behind the stylised monsieur Bochet lies a Treasury functionary, father of eleven, with a banal existence, whose greatest entertainment must have been that of choosing his apparel…
The striking unisex jewel worn by Bochet, typical of the period, and made up of a signet with rings, lockets and other adornments hanging from it, and, even more so, the notion of a gloved Bochet, lend an exquisiteness to the personage, who Ingres ends up transforming into a dandy.
(Edme Bochet, detail, 1811. Oil on Canvass, 94 x 69 cm. Paris, Musée du Louvre)
In Ingres, the fabrics and accessories are not merely there for virtuosity, they have other meanings. Thus, a jewel inspired by Renaissance ferronnerie speaks to us of the master's artistic influences, or the material of the suit worn by Napoleon could have been the best way of answering pleas from Lyonnais weavers to promote French fabrics (Napoleon Bonaparte as First Consul, 1804).
(Napoleon Bonaparte as First Consul, 1804. Oil on Canvass, 227 x 147 cm. Liege, Musée des Beaux-Arts)
This distinctive feature of the painter converses interweaves perfectly with the exquisite care Teixedors takes with all its products, as can be seen with the Ingres gloves.
In their project, Teixidors have succeeded in blending respect for the environment, social responsibility and the highest quality in raw materials and manufacturing processes, transforming the acquisition of their exquisite textiles into something much more than a purchase: a commitment.
(Teixidors manual loom)
The manual loom used by Teixidors allows them to create deliciously imperfect borders on their pieces, nuances which reflect the individuality of each weaver. No sophisticated finishing processes are required when working with a raw material as select as that used to make these gloves: 100% cashmere and yak wool.
On top of the well know benefits of cashmere are the softness, warmness and strength of yak wool from the Khangai mountains of Mongolia, fruit of the collaboration with Veterinarians Without Borders and a cooperative of nomadic shepherds. This project (of which we form part along with Teixidors) seeks to reintroduce yaks to the traditional flocks in this region of Mongolia, to manage the pasture in a sustainable way and ensure the future of traditional livestock husbandry. The result is a garment that tells a story. Exquisite, committed, useful and beautiful. An accessory in which nothing is casual or simply aesthetic. Just like in an Ingres portrait.
(Madame Moitessier, 1851. Oil on Canvass, 147 x 100 cm. Washington, The National Gallery of Art, The Samuel H. Kress collection)