Race/Related: What’s in a Wallpaper?

She never had the slightest interest in wallpaper. Then Harlem Toile came along. [View in browser](~/AAAAAQA~/RgRkIXdwP4QoAWh0dHBzOi8vbWVzc2FnaW5nLWN1c3RvbS1uZXdzbGV0dGVycy5ueXRpbWVzLmNvbS90ZW1wbGF0ZS9vYWt2Mj9jYW1wYWlnbl9pZD0zNyZlbWM9ZWRpdF9ycl8yMDIyMDMyNiZpbnN0YW5jZV9pZD01Njc3MCZubD1yYWNlJTJGcmVsYXRlZCZwcm9kdWN0Q29kZT1SUiZyZWdpX2lkPTc3Njc0OTUyJnNlZ21lbnRfaWQ9ODY2NTYmdGU9MSZ1cmk9bnl0JTNBJTJGJTJGbmV3c2xldHRlciUyRmYwZGY5MTAzLTIwNzgtNTMxNC1hODE2LTM1ZjUwNTMxYzhiZCZ1c2VyX2lkPWFhNDkxZWY3ZjFkOTY0ZTQ5NzlmYjc4NGU3NGUwMWQ3VwNueXRCCmI-cPI-YgSjly9SG3RyaXN0cmFtYmFsZHdpbjkwQGdtYWlsLmNvbVgEAAAAAA~~)|[nytimes.com](~/AAAAAQA~/RgRkIXdwP0SwaHR0cHM6Ly93d3cubnl0aW1lcy5jb20vP2NhbXBhaWduX2lkPTM3JmVtYz1lZGl0X3JyXzIwMjIwMzI2Jmluc3RhbmNlX2lkPTU2NzcwJm5sPXJhY2UlMkZyZWxhdGVkJnJlZ2lfaWQ9Nzc2NzQ5NTImc2VnbWVudF9pZD04NjY1NiZ0ZT0xJnVzZXJfaWQ9YWE0OTFlZjdmMWQ5NjRlNDk3OWZiNzg0ZTc0ZTAxZDdXA255dEIKYj5w8j5iBKOXL1IbdHJpc3RyYW1iYWxkd2luOTBAZ21haWwuY29tWAQAAAAA)[Continue reading the main story](#a11y-skip-ad-marquee) ~/AAAAAQA~/RgRkIXdwP0RtaHR0cHM6Ly9saXZlaW50ZW50Lm5ld3lvcmt0aW1lc2luZm8uY29tL2NsaWNrP3M9MjA3NTgwJmxpPVJSJm09YWE0OTFlZjdmMWQ5NjRlNDk3OWZiNzg0ZTc0ZTAxZDcmcD1SUl8yMDIyMDMyNlcDbnl0QgpiPnDyPmIEo5cvUht0cmlzdHJhbWJhbGR3aW45MEBnbWFpbC5jb21YBAAAAAA~ [More Race/Related](~/AAAAAQA~/RgRkIXdwP0S-aHR0cHM6Ly93d3cubnl0aW1lcy5jb20vc3BvdGxpZ2h0L3JhY2U_Y2FtcGFpZ25faWQ9MzcmZW1jPWVkaXRfcnJfMjAyMjAzMjYmaW5zdGFuY2VfaWQ9NTY3NzAmbmw9cmFjZSUyRnJlbGF0ZWQmcmVnaV9pZD03NzY3NDk1MiZzZWdtZW50X2lkPTg2NjU2JnRlPTEmdXNlcl9pZD1hYTQ5MWVmN2YxZDk2NGU0OTc5ZmI3ODRlNzRlMDFkN1cDbnl0QgpiPnDyPmIEo5cvUht0cmlzdHJhbWJhbGR3aW45MEBnbWFpbC5jb21YBAAAAAA~) March 26, 2022 Sheila Bridges in her London home.Andy Haslam for The New York Times Harlem Toile: Extraordinary in Its Everydayness [Author Headshot](~/AAAAAQA~/RgRkIXdwP0TEaHR0cHM6Ly93d3cubnl0aW1lcy5jb20vYnkvdmVyb25pY2EtY2hhbWJlcnM_Y2FtcGFpZ25faWQ9MzcmZW1jPWVkaXRfcnJfMjAyMjAzMjYmaW5zdGFuY2VfaWQ9NTY3NzAmbmw9cmFjZSUyRnJlbGF0ZWQmcmVnaV9pZD03NzY3NDk1MiZzZWdtZW50X2lkPTg2NjU2JnRlPTEmdXNlcl9pZD1hYTQ5MWVmN2YxZDk2NGU0OTc5ZmI3ODRlNzRlMDFkN1cDbnl0QgpiPnDyPmIEo5cvUht0cmlzdHJhbWJhbGR3aW45MEBnbWFpbC5jb21YBAAAAAA~) By [Veronica Chambers](~/AAAAAQA~/RgRkIXdwP0TEaHR0cHM6Ly93d3cubnl0aW1lcy5jb20vYnkvdmVyb25pY2EtY2hhbWJlcnM_Y2FtcGFpZ25faWQ9MzcmZW1jPWVkaXRfcnJfMjAyMjAzMjYmaW5zdGFuY2VfaWQ9NTY3NzAmbmw9cmFjZSUyRnJlbGF0ZWQmcmVnaV9pZD03NzY3NDk1MiZzZWdtZW50X2lkPTg2NjU2JnRlPTEmdXNlcl9pZD1hYTQ5MWVmN2YxZDk2NGU0OTc5ZmI3ODRlNzRlMDFkN1cDbnl0QgpiPnDyPmIEo5cvUht0cmlzdHJhbWJhbGR3aW45MEBnbWFpbC5jb21YBAAAAAA~) Narrative Projects Editor, Special Projects I never had the slightest interest in wallpaper. Then Harlem Toile came along. The wallpaper, which was created by the celebrated interior designer Sheila Bridges in 2006, features beautiful drawings of African Americans in the lush, historical settings that rarely featured them — a couple in 18th-century dress, dance under a structure that recalls the Arc de Triomphe to the tunes of a boombox that rests playfully on the grass; women in ball gowns sit under a majestic tree, one combs the other’s hair while yet another woman holds up a fairy-talelike mirror; a courting couple in fashion that now brings to mind the popular series “Bridgerton” feast on a picnic. For a Black girl who grew up loving Jane Austen and Toni Morrison with equal aplomb, Harlem Toile was more than wallpaper. It was a tableau of possibility and belonging. Traditional toile de Jouy (the term translates to “cloth from Jouy,” a suburb outside of Paris where it was originally produced) has been popular since the 1700s. Beloved by Marie Antoinette and Joséphine Bonaparte, the fabric typically featured romantic pastoral scenes. Storytelling on fabric was intrinsic to the charm of toile. For example, a pattern drawn by Jean-Baptiste Huet in 1783, called “Le Ballon de Gonesse,” depicts the first hot-air balloon flights in France in panels that weave together enchantment, fantasy and scientific advancement, providing for those who were wealthy enough to purchase it a dreamscape that they could use to cover their walls, the canopies of their four-poster beds or whatever else their seamstresses could whip up with the bolts of toile. A teapot and cup and saucer with the Harlem Toile design. The china, a collaboration between Wedgwood and the interior designer Sheila Bridges, is available at Bloomingdale’s.Andy Haslam for The New York Times Though toile du Jouy has seen hundreds of cheaper knockoffs in recent years, the original was always a luxury good. Harlem Toile de Jouy wallpaper, similarly, is not cheap. I had to save for the handcrafted version ($350 a roll) that was installed on my kitchen wall in the fall of 2021. But in the summer of 2020, when the world was still in the early days of the pandemic and the deaths of George Floyd and other Black people wore heavy on the nation, I struggled with finding any sense of safety, so I bought a 28 x 31 Harlem Toile wall decal for $85 to serve as my Zoom background as I worked remotely from my bedroom. Every time I looked at the panel, it was a reminder that my ancestors had my back. We had survived the unsurvivable time and time again; cultivating hope wasn’t frivolous, it was essential. Like so many fans of Harlem Toile, for me, the pattern is a conversation between the past, the present and a hopeful future, one where Radio Raheem’s boombox lives on forever, one where girls jump double Dutch and Black people ride horses and play hoops. [Continue reading the main story](#a11y-skip-0) ADVERTISEMENT ~/AAAAAQA~/RgRkIXdwP0RtaHR0cHM6Ly9saXZlaW50ZW50Lm5ld3lvcmt0aW1lc2luZm8uY29tL2NsaWNrP3M9MTc0MTQ5JmxpPVJSJm09YWE0OTFlZjdmMWQ5NjRlNDk3OWZiNzg0ZTc0ZTAxZDcmcD1SUl8yMDIyMDMyNlcDbnl0QgpiPnDyPmIEo5cvUht0cmlzdHJhbWJhbGR3aW45MEBnbWFpbC5jb21YBAAAAAA~ To truly understand the power of Harlem Toile, said Martha S. Jones, a public historian and professor at Johns Hopkins University, you have to go back 200 years to Ms. Bridges’s hometown, Philadelphia, where in the 1820s there was a young white illustrator named Edward Clay. After studying abroad in Paris and London, Clay was shocked to discover a thriving free Black culture when he returned. Well dressed Black people strolled in the parks and frequented department stores. It was, Ms. Jones said, this kind of new sociability. Clay was very unsettled by this and created panels of etchings in response. As Ms. Jones explained, “The result is a series, titled ‘Life in Philadelphia’, a very cruel, very ugly, series of caricatures of Black middle-class figures in Philadelphia in this period. They are adopted, borrowed, circulated, widely.” What happened next is emblematic of how something as simple as wallpaper becomes more than decoration. A French painter named Jean-Julien Deltil borrowed from Clay’s “Life in Philadelphia” to create a series of images with titles like “Vues d’Amérique du Nord” and “Bay of New York” that featured Black middle-class Americans, but not in caricature. Deltil’s designs were made into wallpaper in 1834 by the French firm Zuber & Cie. In the early 1960s, Jacqueline Kennedy bought that Zuber wallpaper and installed it in the diplomatic reception room in the White House. The wallpaper took on a whole new meaning when the Obamas entered the White House. “Images of the president and first lady posing alongside the Zuber & Cie wallpaper’s assorted images of elegantly dressed Black Americans, circa 1834, indicate the Obamas’ cognizance of their own emblematic roles almost a century beyond those of the figures depicted in these White House decorations,” Richard Powell, a professor of art history at Duke University, writes in the book “The Obama Portraits.” Ms. Jones, herself, has a panel of the Zuber wallpaper installed in her home. As a historian, she said, the emotional tug of living with the figures of Black Americans that Deltil drew with grace and humanity are as important to her as family portraits and mementos. “The characters on my wallpaper are people I speak to every day,” she said. “I greet them. I live with them, and they stand in for the folks we might know of. And the many we don’t know enough about. And in that way, they’re also precious.” Read the rest of the story [here](~/AAAAAQA~/RgRkIXdwP0ThaHR0cHM6Ly93d3cubnl0aW1lcy5jb20vMjAyMi8wMy8yNS9yZWFsZXN0YXRlL2hhcmxlbS10b2lsZS13YWxscGFwZXIuaHRtbD9jYW1wYWlnbl9pZD0zNyZlbWM9ZWRpdF9ycl8yMDIyMDMyNiZpbnN0YW5jZV9pZD01Njc3MCZubD1yYWNlJTJGcmVsYXRlZCZyZWdpX2lkPTc3Njc0OTUyJnNlZ21lbnRfaWQ9ODY2NTYmdGU9MSZ1c2VyX2lkPWFhNDkxZWY3ZjFkOTY0ZTQ5NzlmYjc4NGU3NGUwMWQ3VwNueXRCCmI-cPI-YgSjly9SG3RyaXN0cmFtYmFsZHdpbjkwQGdtYWlsLmNvbVgEAAAAAA~~). EDITOR’S PICKS We publish many articles that touch on race. Here are several you shouldn’t miss. 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The Ketanji Brown Jackson hearing unleashed some deeply retro senatorial opinions. By Jamelle Bouie](~/AAAAAQA~/RgRkIXdwP0TiaHR0cHM6Ly93d3cubnl0aW1lcy5jb20vMjAyMi8wMy8yNS9vcGluaW9uL21pa2UtYnJhdW4tbG92aW5nLXZpcmdpbmlhLmh0bWw_Y2FtcGFpZ25faWQ9MzcmZW1jPWVkaXRfcnJfMjAyMjAzMjYmaW5zdGFuY2VfaWQ9NTY3NzAmbmw9cmFjZSUyRnJlbGF0ZWQmcmVnaV9pZD03NzY3NDk1MiZzZWdtZW50X2lkPTg2NjU2JnRlPTEmdXNlcl9pZD1hYTQ5MWVmN2YxZDk2NGU0OTc5ZmI3ODRlNzRlMDFkN1cDbnl0QgpiPnDyPmIEo5cvUht0cmlzdHJhbWJhbGR3aW45MEBnbWFpbC5jb21YBAAAAAA~) [Continue reading the main story](#a11y-skip-1) ADVERTISEMENT ~/AAAAAQA~/RgRkIXdwP0RtaHR0cHM6Ly9saXZlaW50ZW50Lm5ld3lvcmt0aW1lc2luZm8uY29tL2NsaWNrP3M9MjA3NTc3JmxpPVJSJm09YWE0OTFlZjdmMWQ5NjRlNDk3OWZiNzg0ZTc0ZTAxZDcmcD1SUl8yMDIyMDMyNlcDbnl0QgpiPnDyPmIEo5cvUht0cmlzdHJhbWJhbGR3aW45MEBnbWFpbC5jb21YBAAAAAA~ Invite your friends. 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