The story of Chinoiserie: How the West fell in love with Chinese culture

Long before international flights became a technological and financial reality for Western civilization, trade flowed between faraway lands via shipping routes. In the 1700s, Europe's flourishing trade with China and other East Asian countries sparked a fascination with Chinese and Asian culture.

Artists and craftsmen, who had limited exposure or means to visit China, instead explored its culture through art as vast amounts of Chinese goods entered European countries. Western craftsmen proceeded to imitate Chinese artistry by drawing freely on cabinets, porcelain vessels and embroideries.

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This phenomenon was called chinoiserie, which grew in popularity over the following centuries. Many of the most notable works still draw intrigue and crowds and tell the story of the first mass merging of Chinese and European culture

1600s: The West's fascination with China

Between the 16th and 17th century, the missionary efforts of France's Society of Jesus, or the Jesuits as they are more commonly known, played a key role in the transportation of knowledge, science and culture between China and the West.

Their first mission to reach China dates back to 1552, when St Francis Xavier arrived on the Chinese island of Shangchuan. He died on the island a year later, having never reached the mainland, but three decades later, in 1582, the Jesuits made a second and successful attempt.

During their stay, the Jesuits introduced Western science, mathematics, astronomy, and visual arts to the Chinese imperial court, and took part in significant inter-cultural and philosophical dialogue with Chinese scholars, particularly with representatives of Confucianism.

Importantly, the Jesuits also took precious art and cultural artifacts back to France, where they started a chinoiserie trend through the palace of Versailles. Furniture, architecture, porcelain, interior design all became influenced by the Chinese style. 

1700s: The popularization of chinoiserie

The earliest appearance of a major chinoiserie interior scheme was in Louis Le Vau's Trianon de porcelaine of 1670–71 (which was subsequently destroyed), built for Louis XIV at Versailles. The fad quickly spread throughout aristocracies in other countries, particularly in Germany.

But while Europe's ruling class enjoyed increasing access to Asian cultures, for normal people it was still very much limited. Their knowledge of China and other East Asian countries was developed through stories told by missionaries, such as the Jesuits, diplomats and merchants.

These merchants grew in number as trade flourished between Asia and the West. The mass influx of goods, such as fabrics, porcelain goods and furniture, informed their understanding and sparked the creation of replicas that were made by local craftsmen and sold to domestic markets.

Garden design was also impacted. Pagodas and tea pavilions invaded European parks as gazebos. London's Kew Gardens is home to The Great Pagoda, a 10-story building that was built in 1761 by Sir William Chambers, and is often referred to as the supreme example of chinoiserie.

1800s: Competition and conflict

At the beginning of the 19th century, the popularity of chinoiserie continued to flourish, particularly in England. George IV, king of England from 1820 to 1830, spearheaded the construction of the Royal Pavilion in Brighton.

The pavilion combined Indian-style exteriors with chinoiserie-inspired interiors that drew on both Chinese and Japanese art. Many of the rooms were covered with chinoiserie wallpaper depicting flowers, birds and trees, backed by brilliant shades of yellow and pink. 

But shortly after, the popularity of chinoiserie began to wane. The appeal of China and East Asia had to compete with other 'exotic' tastes, such as Turkish, Egyptian, Gothic and Greek, all of which were imitated in much the same way.

Conflict between the two countries also played its part. The First Opium War of 1839-1842 between Great Britain and China impacted a previously flourishing relationship. China turned away from exports and imports, and for many people chinoiserie became a fashion of the past.

1900s: A 20th century revival

The first three decades of the 20th century witnessed a revival in the popularity of chinoiserie both in Europe and America. Trends such as butterfly motifs, lacquered furniture, red tassels and Chinese-influenced patterns all drew inspiration from the Chinese styles that had been popular in the 18th century.

Chinese dragons were drawn on cushions, curtains and wallpaper, while Chinese coats and hairstyles proved popular with women. The style was associated with femininity and modernity and was a by-product of the social upheaval that followed World War I. 

Chinoiserie was associated with wealthy, stylish women and attached itself to the boom in mass entertainment as people dressed up to visit cinemas. Nostalgia also played its part, with the designs associated with the grace and elegance of 18th-century aristocratic living.

2000s: A social media comeback

In 2024, chinoiserie is making yet another comeback. The rise of social media and home blog lifestyle aesthetic pages has seen demand soar for imitations of Chinese artwork, furniture and decor. 

But critics point out how much of it is based on an outdated idea of what constitutes Chinese art and design - and who actually creates it. 

In 2015, an exhibition at New York's Metropolitan Museum of Art entitled China: Through the looking glass was criticized for featuring only a small number of pieces created by Chinese designers. Much of the work was inspired by 17th and 18th century chinoiserie, which was itself an imitation of Chinese art. 

Most recently, Gucci's Alessandro Michele has been putting his own spin on chinoiserie, with a collection of vibrant blue separates printed with a botanical garden's worth of scrolling flowers, showing that chinoiserie is alive and well in the 21st century.

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