Black lace capes and mantles from 1904

 

Black lace capes and mantles seem to have been fashionable at the beginning of the twentieth century. These images appear in a catalogue from the Nottingham company of Samuel Peach which was famous for its lace curtains, household linen and lace clothing. These black lace capes appear to be fashionable day wear rather than evening or mourning clothes. I say that, because the women modelling them are also wearing extravagant hats, which look more suitable for the day rather than the evening and none of the capes appear plain or subdued, which I would expect from mourning wear.

This page in the catalogue is headed capes and mantles and I was interested to discover the difference between the two. My dictionary says a cape is a short sleeveless cloak while a mantle is a loose sleeveless cloak, so not a great deal of difference. However, from looking at other fashion plates, a mantle seems to be much less structured than a cape and in many cases looks like a wide shawl worn round the shoulders and knotted at the front over the bust. Therefore these images all seem to be capes rather than mantles, although the captions in the catalogue use the terms interchangeably. The image above is described as a silk lace cape with the pattern richly embroidered with silk braids and cords and lined with silk. This suggests that it consists of machine-made silk lace on a base of silk material, with the lace pattern highlighted with cords round the main motifs. The collar is made entirely of lace and forms a pretty neckline rather like a ruff.

This cape is described as light and dainty and is made up of lace fabric and silk. The yoke is trimmed with lace and embellished with sequins and it is tied in a bow at the neck with a large satin bow. This model can be supplied in two different lengths; either 19 or 27 inches deep. The shorter version cost 18/- and the longer one is 24/6.

This piece is described as both a cape and a mantle. It is made from machine-made lace fabric which has been embroidered to add silk cords and braids to the main parts of the design. It is also trimmed with lace all around its edge forming lovely ruffles at the hem and neckline. Like the other styles it is finished with a wide satin ribbon tied in a bow at the neck. It, and the cape with the ruff-like neckline, both cost 13/9 so they are cheaper than the cape with sequins. They all seem very glamorous and are obviously fashion items, perhaps designed for an afternoon tea appointment, rather than being outer wear to keep you warm on a walk.   

Ninepin edgings in bobbin lace

 

Ninepin lace is made up of a series of plaits and picots. It is the traditional edging on the headside of many Bedfordshire lace patterns, which are characterised by cloth stitch trails, plaits, leaves, tallies and picots. There are many variations of ninepin. The image shows a basic type, consisting of a plaited loop, which links in to the footside on each downward point, and is stabilised by a continuous plait running parallel to the footside through all the loops.

The plait is made with two pairs of bobbins, by crossing the second thread over the third (the cross) and then passing the second and fourth threads over the first and third (the twist). This crossing and twisting is then continued until the length of plaiting is complete. Where two plaits meet they are crossed in the same way using each pair of threads as a single thread. Picots are made on the outer edges. In the main image five picots are made on the top part of each main loop, but in this image two picots have been made and the loops are wider and shorter making a more solid edging.

The ninepin on the upper part of this image is a basic style but the lower part of the image shows a variation which follows the same basic pattern with the addition of three larger loops of plaiting at the apex of the main loop.

This variation includes one main loop intersected by two wider and lower loops crossing it and each other, with one picot at the top of the main loop. There are many other types of ninepin, including versions with two main loops overlapping each other or an outer and inner loop intersected by a long joining plait. The plaits linking the loops may also be replaced by leaves or tallies to make a more solid join, and the number and placing of picots can also be varied.

Ninepin lace makes a distinctive and beautiful edging to any piece of lace and even a small section can be added to a design to provide a highlight along a straight edge or an attractive link across an indentation.  

 

Weldon’s magazines: Bruges bobbin lace

 

I’ve been lucky enough to be given some issues of Weldon’s practical needlework magazines from the early twentieth century (thank you Sue!). The advertising notes that each magazine ‘is devoted to one subject of fancy work’. There are over 350 different titles and 21 of them cover various types of lace. Weldon’s clearly published a wide range of monthly magazines covering domestic subjects such as needlework, dressmaking, millinery, cookery and ‘fancy work’ which included knitting, embroidery and various types of lacemaking. They also produced Weldon’s Ladies Journal every month which was a more general interest magazine and published stories, letters, and household hints as well instructions and tips for domestic crafts.

The issue I’m looking at deals with some of the pillow laces and describes how to make Bucks, Beds, Maltese and Bruges style bobbin lace. The magazine includes illustrations, patterns and instructions and suggests that Bruges lace is the easiest type to make because interesting designs can be made by just using cloth stitch. The lacemaker is therefore able to ‘perfect herself in one stitch before going on to the next and makes quicker progress in consequence’. Having been given that advice I am going to focus on Bruges point lace for this blog and the photo shows the pricking Weldon’s gives for the starter pattern as well as two worked examples. The instructions are thorough and the illustrations are clear but the lacemaker is expected to master whole stitch, straight and pearl edgings, gimp threads, removing and adding pairs, gaining on a pin, sewings (for which a fine crochet hook is recommended rather than a needle or pin), and raised and rolled work in this first motif. Just as well she only had one stitch to learn!

The second pattern is a border for a handkerchief with separate prickings for the corner motif and the edging. This pattern introduces half stitch as well as plaited connecting bars, a spider filling in the centre of the rose, and leadworks. I’m impressed by how competent the novice lacemaker was expected to be but, at that time, women of all classes would have had at least a basic understanding of needlework. Fancy work was also popular, as attested by the number of Weldon’s magazines, suggesting that most women had practical skills. Also by this time, people like the Tebbs sisters in London had written their books on The art of bobbin lace so there were other lace manuals to turn to if the reader needed more help. I’m certainly enjoying reading these old magazines as I’m sure their original readers did.  

Belgian war lace tablecloth

 

This needlelace image of St George fighting the dragon is part of a tablecloth made for Queen Elisabeth of Belgium as part of the Belgian war lace initiative. The project was set up in 1914, at the start of the First World War, to provide aid for the Belgian population. As a result of the German invasion and occupation of Belgium, the British had established a naval blockade to cut off German supply routes, but this also led to a shortage of food imports. In response, the Commission for the Relief of Belgium (CRB) was set up. This body, with the help of thousands of volunteers, organised the importation of food aid and provided a basic meal of soup and bread for millions of people over the four years of the war.

As part of the relief work, lace committees were set up to buy lace from local lacemakers but, by 1915, a shortage of thread from Ireland and Britain was limiting the amount of lace that could be made. It was then that the CRB rules were amended to allow the importation of a certain weight of thread and the export of the same weight of lace to France, Britain and the USA for sale. This provided the thread the lacemakers needed and opened up new  markets for the sale of the lace. The Brussels Lace Committee (BLC) oversaw the entire lace project and employed about 45,000 lacemakers as well as professional designers.

The tablecloth was designed by the well known Belgian artist Isidore de Rudder and incorporates images of four saints. St George and St Elisabeth of Hungary represent the Belgian King and Queen and St Gudula and St Michael are the patron saints of Brussels. There are also references to battles in which the King took part and the coats of arms of 16 Belgian cities particularly affected by the fighting.

The borders include ferns and wildflowers referencing the forests and fields of Belgium. As well as seaweed to remember the breaching of the dykes at the River Yser in 1914 which had halted the German advance. The outer border of the tablecloth includes medallions of flowers and mushrooms symbolising qualities such as rebirth, humility and immortality. The tablecloth was made at the convent lace school in Erenbodeghem and presented to Queen Elisabeth by the BLC, at the end of the war, on her return to Belgium from exile. It is now held in the Royal Museum of Art and History in Brussels.  

Wedding veils that conceal and reveal

 

These wedding veils are part of a series that conceal hidden thoughts and reveal them only to those who can see the clues. The one in the image above is called ‘Paper trail’ and was inspired by Thomas Hardy’s novel Tess of the D’Urbevilles. It references the note that Tess wrote to Angel Clare on the evening before their marriage and slipped under his door, telling him about her past, in case that knowledge would cause him to change his mind. Unfortunately he did not find the note, but Tess was relieved because she thought he knew about her past and still wanted to marry her. It is only after they are married that she realises her mistake and, sadly, when she confesses her chequered past to him he rejects her.

The disintegrating paper in the veil represents the overlooked note and the hidden secrets it contained as well as reflecting on the fragility of her marriage. Although the veil appears to be delicate and beautiful, like Tess herself, it hides within its folds intimations of decay and the unravelling of the marriage and her life. The confusion caused by this scrap of paper initiates a paper trail that ends in Tess’s trial and sad end.

This lace veil entitled ‘Fragmented memories’ is inspired by a nineteenth century author rather than a particular novel. It is a veil for Charlotte Bronte, the author of Jane Eyre. At the age of 38 she married Arthur Nicholls, who had worked with her father as a curate. However, before that she had had an intense crush on Constantin Heger, a schoolmaster in Brussels, where she went to study for a while. When she returned to England, she wrote to him obsessively, much to his embarrassment, and the displeasure of his wife, and he had to ask her to stop writing to him. Constantin tore up all of the letters Charlotte wrote to him, but his wife collected the pieces and sewed them together so she could read them.

The veil references that time in Charlette’s life, by including torn pieces of a letter on to the lace edging of the veil. They are linked by a line of stitching to record the way they were stitched back together and to suggest that they remained part of Charlotte’s past life as fragmented memories.

Lace doilies with attitude

I like to give a voice to lace that is generally overlooked and ignored and these three doilies are part of a series of mats with attitude that speak their minds. The inspiration was gothic literature from the 19th century in which the ideal heroines are outwardly quiet, well behaved and often seated at their embroidery frame and unable to voice their opinions. In some respects the doilies are embodiments of those women. Doilies are also anachronistic furnishings. Whereas they were once ubiquitous in family homes they now languish in the charity shop or under a pile of old tablecloths in a cupboard; unwanted and unused.

Get off me, seemed to reflect the fact that they are essentially table mats, constantly being pinned down by vases, glasses or plates and that they might like to throw off this burden occasionally and experience freedom. I designed this one in Bedfordshire style lace with the hint of a ninepin edging and leaves breaking the inner circle of the mat suggesting the promise of escape.

#MeToo was made as a response to the 2017 social movement and campaign to raise awareness of sexual abuse and harassment. It encouraged women to share their experiences of sexual harassment, particularly that in the workplace, and to emphasise the widespread prevalence of the problem. This doily was designed by combining a Bedfordshire style central panel and an outer ring of Russian style tape lace.  

F**k off was chosen as the text for the third panel as that is the common response from young women today to those who harass or annoy them. It is a universally understood slang phrase which gains more effect by being quoted on a dainty, old fashioned doily where a platitude about the home would be more likely to appear. This design also has a central panel of text, leaves and plaits, surrounded by a tape lace outer circle. The lace doilies form a group of traditional furnishings with attitude that aren’t afraid to speak their minds. 

Handmade or machine-made lace?

 

The first question most people ask about a piece of lace is ‘Is it made by hand or machine?’ With most types of lace it is fairly easy to tell, but with Chantilly lace it is always difficult to decide because the machine-made versions were such clever copies. This type of bobbin lace was first made in the northern French town of Chantilly in about 1840 and was popular for shawls, lappets, parasols and flounces until the end of the 19th century. It is a very fine lace that is time-consuming to make, so separate strips of the lace were made by different workers and then sewn together using an almost invisible stitch called point de raccroc. This forms a weak point in the lace and sometimes this stitching unravels revealing the join between the sections. Finding these gaps indicates that the lace was handmade because machine-made pieces do not have these joins.

Another way to decide if the lace is handmade is to follow some of the thread paths. In handmade lace you can follow the threads from one section of the work to another, for example in this piece the threads form a continuous line from the floral shapes into the ground net. In handmade lace the thicker outlining gimp threads are also incorporated into the stitches on the edges of the floral design elements. The threads that make up the picots along the edge of the lace should also come from the body of the lace rather than being a separate addition and form loops rather than just thread ends. Handmade lace often feels softer than machine-made lace, which can feel hard to the touch and may drape less well.

People generally value handmade over machine-made lace, probably because they understand the skill that would be required to make the lace and realise how difficult it would be. However we should not dismiss the skill of those who produced machines to make lace and the designers, draughtsmen and twist hands who made the machine lace. We tend to think that machine-made things are worth less because they are plentiful and cheap. However, machine-made lace allowed more people to own and wear beautiful lace at an affordable price.