Turquerie (anglicized as "Turkery"), or Turquoiserie, was the Turkish fashion in Western Europe from the 16th to 18th centuries for imitating aspects of Ottoman art and culture. Many different Western European countries were fascinated by the exotic and relatively unknown culture of the Ottoman ruling class, which was the center of the Ottoman Empire. This fashionable phenomenon became more popular through trading routes and increased diplomatic relationships between the Ottomans and the European nations, exemplified by the Franco-Ottoman alliance in 1715. Ambassadors and traders often returned home with tales of exotic places and souvenirs of their adventures.

The movement was often reflected in the art of the period. Music, paintings, architecture, and artifacts were frequently inspired by the Ottoman styles and methods. Paintings in particular portrayed the Ottomans with bright colours and sharp contrasts, suggesting their interesting peculiarity and exotic nature.

In the wake of the Age of Exploration, roughly between the 15th and 18th centuries, there was an explosion in the number of commodities and availability of products. People were using newly created cartography and using these maps to explore the world on paper. There was an accumulation of more objects and a desire for more acquisitions. Coupling this, there was the value of exoticism, valuing things that came from a great distance. Europeans and Ottomans alike were developing a consciousness of themselves in relation to the broader world. At the same time the Ottomans were slowly ceasing to be regarded as a serious military threat to Western Europe, despite their continuing occupation of the Balkans, and campaigns such as that ended by the Battle of Vienna as late as 1683.

New patterns of consumption were arising, especially with trading ships being able to navigate around Africa. Commodities that were once expensive were becoming more affordable. Products often define people in terms of gender, age, and availability of access. This notion of social definition outlines the main theme of the explosion of commodities from 16th century and onwards. The exchange system had to do precisely with accessibility and availability of commodities on a grand scale. It is important to note that this was not just a European phenomenon. The Europeans were not the only people who developed a sensibility of how consuming different things could define their relationships domestically and abroad. In this context, there was a broader view of consumption and one's place within the world. A person would consume in order to show off their financial position and their social location.

When coffee was first imported to Europe, locals looked to its place of origin to better understand the new phenomenon. Ottoman scholars—who had been studying the plant for centuries and were producing relevant, new sources—became the main reference for Edward Pococke and Antoine Galland’s written works on coffee. Academia, such as this, was a key component within coffeehouse culture. The history of coffee in Europe as a product was inextricably linked to this culture. It was “an institution and a set of customs…transferred from one region to another,” in this case from the Ottoman Empire to western Europe. The introduction of coffee to the European scene was neither new nor just a common consumable good; it was a direct result of “Ottoman mediation.”

Visiting elites from high-class European circles were frequently exposed to the drink through Ottoman elites and diplomacy, complete with porcelain, embroidered napkins, and special etiquette. Furthermore, visiting Ottoman military or diplomatic officials would serve coffee in similar ways within European cities. Adhering to strict instructions, sequences, and measures, good coffee had to be prepared with a precision that the Ottomans had perfected, a skillset that Europeans had yet to learn to apply to their version of the bitter, crude drink.

Europeans developed an appetite for exoticism as greater emphasis was put on empire building and colonization in other nations. There was a growing fashion for Turkish styles in Europe in the 15th and 16th centuries. Europeans did not regard Ottomans as rivals that they had to contend with and imitate militarily, politically, or diplomatically, but rather as an exotic foreign people possessing quaint and strange fashions that could be consumed. Consuming these exotic fashions would show one's elite place in society as well as display their open-mindedness and interest in the world. These "obsessions" with Turkish aesthetics were in part brought on by the presence of Europeans in the Ottoman Court and the acts of bringing back their products to Europe. The increased mercantile relationships between the Turkish people and the Europeans aided this process; the continuation of these trading systems helped to spread new fashions quickly in Europe.

Brightly colored Turkish styles of decoration were used on many types of objects, including timepieces. Many of those imported had the hours and religious names in Arabic characters. A person who owned one of these timepieces was one with an increased social status.