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Caste Eng Crè Log SUMARI 7 PREÀMBUL Neus Ribas i Eulàlia Morral 8 L ’EXPOSICIÓ ITINERANT 28 LA MEMÒRIA DELS TELERS: ELS MOSTRARIS TÈXTILS Sílvia Carbonell Basté 54 LÚA IND STRIA tèXTIL A CATALUNYA TEVIS A D S DE LA INFORMACIÓ ESTADÍSTICA Jordi Maluquer de Motes 70 ESLS FON DELS MUSEUS COM A EINA INDISPENSABLE PER ALS DISSENYADORS Dra. Sílvia Rosés Castellsaguer 84 L A I+D EN EL SECTOR tèXTIL. ESTAT ACTUAL, TENDènCIES Ariadna Detrell / Sergi Artigas 97 AnnEXOS TRADUCCIÓN AL CASTELLANO ENGLISH TRANSLATION PREÀMBUL Neus Ribas i Eulàlia Morral Al llarg d’aquest procés de recollida i documentació que hem anat fent, ens hem adonat que a vegades arribà- vem tard, perquè durant o després del tancament de les empreses –ja fos per la crisi o per trasllat– s’havien llen- çat molts mostraris, en bona part perquè no se’ls con- sidera una documentació interessant o valuosa. També urant un llarg període, hem pogut constatar que moltes empreses conserven a Catalunya el tèxtil ha estat la indústria, i les caracte- aquesta informació en pèssimes condicions i controla- rístiques físiques i socials del nostre país no es poden des per persones, generalment d’edat avançada, que són entendre sense tenir en compte aquest fet; però tot can- els únics que tenen els coneixements indispensables per via molt de pressa. Les modificacionsD urbanístiques de a la correcta identificació i interpretació d’aquests ob- les poblacions, la diversificació de la indústria i el relleu jectes. Finalment, hi ha empreses i persones conscients generacional han anat desdibuixant la memòria fins al del valor d’aquest patrimoni, que el conserven o fins i tot punt que els propis habitants de ciutats que van ser de realitzen els tràmits necessaris per donar-los als equipa- referència obligada per al sector tèxtil fins als anys se- ments museístics que els podem conservar, documentar tanta sovint desconeixen aquest fet, o en tenen una no- i difondre. ció molt superficial. Però més enllà del projecte de documentació i difusió No estem pas per nostàlgies, ni pretenem recuperar del fons industrial tèxtil de Catalunya, vam considerar la memòria per evocar passats esplendorosos que tam- que calia explicar la importància d’aquesta informació poc ho van ser en la mateixa mesura per a tothom. Però, d’una manera atractiva i planera, per ajudar a recupe- en tot cas, i partint de la premissa que la història és i serà sempre selectiva i subjectiva, és important de conservar rar lligams amb maneres de fer, de ser i de dir que ens referències que serveixen de base per a qui la vulgui fer. vénen de quan (gairebé tots) filàvem, teixíem, estampà- Aquesta preservació de la memòria també té en vem i anàvem a vendre. I per ajudar a que no es perdin compte que, mentre hi hagi indústria, caldrà que algú més testimonis d’aquesta producció que té al darrera un faci disseny de producte. I qui faci disseny, agrairà tenir gran coneixement acumulat que, al capdavall, és el que accés a documents visuals i tècnics que li permetin ins- fa possible que –sigui tèxtil o no– la indústria continuï pirar-se, interpretar, o simplement copiar idees d’ahir ben viva al nostre país. amb materials i tecnologia d’avui, adaptats als requeri- Amb aquesta intenció el Museu d’Arenys de Mar i ments dels consumidors actuals. el Centre de Documentació Museu Tèxtil hem co-pro- Amb aquest convenciment, el Museu d’Arenys de duït l’exposició Tot plegat. Un retrat de la Catalunya tèx- Mar i el Centre de Documentació i Museu Tèxtil vam til recent amb el suport de la Diputació de Barcelona i començar a treballar ja fa deu anys per tal de posar en la col·laboració del Museu de l’Estampació de Premià comú i fer accessible a tothom el patrimoni industrial de Mar. Una exposició que es pot estendre a la majoria que conservem, i que consisteix bàsicament en mostra- de les poblacions del nostre país, on el tèxtil ha estat la ris d’empresa, dissenys originals i posades en carta. A indústria capdavantera durant molts anys. Per aquest aquest projecte, que s’ha anat engrandint durant aquests motiu la mostra que es va inaugurar el 17 de maig de anys, s’hi ha afegit el Museu de l’Estampació de Premià 2015 a Arenys es podrà contemplar durant l’any 2016 de Mar. Tots tres museus han creat una base de dades al Centre de Documentació i Museu Tèxtil i al Museu ht t p://dd fitc.cd mt .es/, on es pot consultar part dels de l’Estampació de Premià de Mar, i esperem que pugui mostraris que conservem i que té la intenció d’anar crei- ser presentada en molts altres municipis catalans. xent mitjançant la digitalització de tots els documents i El llibre que teniu a les mans és un recull de diversos potser incorporant els que es conserven en altres equi- textos signats per experts que reflexionen i aprofundei- paments patrimonials dels nostre país com el Museu xen en alguns dels temes que l’exposició només ens ha de Sabadell, el Museu de la Tècnica de Manresa o Can permès esbossar i que contribuiran a que “el retrat” sigui Marfà Gènere de Punt - Museu de Mataró –que recent- més exacte i complet. ment s’ha inaugurat–, i diversos museus locals. 7 L’EXPOSICIÓ ITINERANT Vista de l’accés a l’exposició itinerant, instal·lada al Museu d’Arenys de Mar. 8 L’EX POSICIÓ ITINERANT Una història del treball tèxtil en vuit objectes questa exposició pretén Aquesta secció mostra com el treball tèxtil ha evoluci- esbossar un retrat de la Catalunya tèxtil recent a partir onat, des d’una feina domèstica de tota la família a una d’uns documents generalment poc coneguts: els mos- indústria global sota els gegants de la distribució, amb traris dels teixits, estampats, puntes, cintes i gènere de vuit objectes eloqüents de cada època triats de les col- punt fabricats per les empreses Acatalanes i conservades leccions dels museus tèxtils de Catalunya. en els centres integrants del Circuit de Museus Tèxtils i de Moda a Catalunya. La producció manual Comencem aquest retrat el 1888, l’any de l’Exposi- ció Internacional de Barcelona i l’inici de l’embranzida definitiva en la industrialització del sector tèxtil, i con- Estem acostumats a veure la producció manual com una tinuem fins a l’actualitat. activitat artesanal, però pel que fa a l’organització po- dria ser considerada una indústria manufacturera. La Què són els mostraris tèxtils? casa Volart, avui una empresa centrada en la produc- ció de blondes industrials, ja es dedicava antigament a la fabricació manual de vels i mantellines amb coixins Es tracta de volums enquadernats on les empreses en- com aquest. Va arribar a tenir quasi tres mil puntaires a ganxaven mostres de teixit o de fil de la seva producció. la costa de Catalunya, amb randers locals distribuint la Cada mostrari recull els articles que es feien en aquell matèria prima i recollint la punta ja elaborada i munta- any i/o temporada. N’hi ha que són per a ús intern, per da. Almenys fins a la Guerra Civil, va permetre a un bon a la fabricació i per tenir un control de les vendes, i d’al- nombre de persones d’ambdós sexes de poder-ne viure tres que portaven els viatjants per fer veure als clients en major o menor grau. Les principals zones de produc- l’oferta de l’empresa. Els teixits estan organitzats per ció de puntes artesanes van ser el Maresme, Barcelona tipus, sovint en els diversos colors de la temporada, hi- i voltants i l’Arboç del Penedès. Als anys seixanta del vern o estiu. Altres tipus de documents són les fitxes segle XX van anar finalitzant la seva activitat. que especifiquen les dades tècniques per a la producció, La producció tèxtil manual es realitzava a casa, encar- normalment sense enquadernar. regada per un empresari, denominat paraire o rander. Va anar desapareixent a partir de la construcció de les primeres fàbriques tèxtils. La figura de la filadora tradi- cional es va esvair a partir de la introducció de les mà- quines de filar a finals del segle XVIII. Unes dècades més tard, el teixidor també havia de sortir de casa i treballar a la fàbrica. L’estampació a mà o a bac amb motlles de fusta va persistir fins al final del segle XIX, mentre que les puntaires manuals tradicionals van subsistir fins a la dècada de 1930, fent gala de la punta ‘legitima’ manual en contraposició a la suposadament inferior ‘mecànica’. Des de mitjan segle XX, el treball manual ja només es desenvolupa en l’àmbit de l’artesania. Taller de la Casa Castells, 1906. Fotografia d’Adolf Mas. Institut Amatller d’Art Hispànic, Arxiu Mas. 9 L’EXPOSICIÓ ITINERANT La producció industrial Les fonts d’inspiració Liderada per les empreses tèxtils, la industrialització de Les empreses han treballat tradicionalment en un marc Catalunya va ser remarcable. Els obstacles que havia de definit per lestemporades (tardor/hivern i primavera/ superar eren grans: els recursos naturals eren escassos, estiu). Per definir els seus productes s’han fonamentat especialment el carbó, mancava l’accés al capital –les en- en les tendències, unes orientacions sobre els colors, les titats bancàries eren molt incipients– i les innovacions textures i els aspectes que presumiblement tindran més tècniques sovint arribaven tard. Malgrat tot això, l’any acceptació al mercat. Són fruit d’una lectura de l’entorn 1849 Catalunya era el cinquè productor mundial de tei- i de l’estudi de la influència que alguns factors –pers- xits, per davant d’Alemanya i de Suïssa.
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