Textile Egyptomania of the Late 20th and Early 21st Centuries

The enduring significance of Ancient Egyptian art and its appeal to many subsequent generations can be explained not only by the antiquity and long history of this civilization. Ancient Egypt demonstrated to the world a remarkably coherent and unique culture of a colossal scale, which manifested in virtually every area of human activity. Interest in it arose as early as the Antiquity, was renewed during the Renaissance, strengthened during the Age of Enlightenment, and culminated in the Historicism movement. The next wave of Egyptomania occurred in the first third of the 20th century, when a fascination with Egypt manifested itself in various spheres of culture and art: architecture, interior design, fashion, design, theater, cinema, literature, etc. Textile production has been and remains one of the most important and significant industries associated with these fields.

In this article, the author first addresses the issue of textile Egyptomania (the “third wave”) of the late 20th and early 21st centuries and explores the least “researched” issues in this field. The aim of our study was to identify the spheres of cultural influence of the ancient Egyptian civilization’s heritage on the modern textile industry, as well as the nature of the depth of this influence. The following objectives are consistently addressed: evaluating the relevance of Egyptomania as a phenomenon and the reasons for its manifestation in the modern world, defining and substantiating its chronological boundaries, and characterizing the most popular areas of textile Egyptomania (fashion, textile production, and carpet weaving), as well as the tools for its transmission. Based on an analysis of modern fabric samples, the study identifies key artistic and stylistic trends, along with the innovative approaches employed for their implementation. In textile ornamentation, reflecting the technological features of modern production, six artistic and stylistic directions in the interpretation of the Egyptian theme are identified. It is noted that textile and carpet art exhibit similar development trends. The author concludes that Egyptian Orientalism of the late 20th and early 21st centuries maintains a stable presence in the contemporary artistic context (functioning less as an exotic trend, and more as a manifestation of a well-established classical tradition). It is shown that textile Egyptomania, which manifested in fashion in the late 20th and early 21st centuries, can be regarded as a profound cultural phenomenon, as it transcends local boundaries, influencing art and contributing to the resolution of social problems.

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