As you can see from this image the piece is basically a strip of Torchon lace worked in thin separate sections all linked at some point but allowing quite a range of twisting and movement. I like the effect especially as it shows off the open nature of the lace and will keep playing about with the theme when I get a bit more time.
Wednesday, 27 July 2022
Wednesday, 20 July 2022
I’ve been reading about the revival of Venetian style needlepoint laces throughout Europe during the 1880s as part of my research into ‘imitation’ laces. These heavier more structured laces became fashionable as trimmings on clothing at this time. This led to lacemakers copying examples of seventeenth century laces but also in many cases remodelling actual pieces of old seventeenth century lace. Belgian lacemakers famed for the expertise of their needlelace copied many of these seventeenth century designs so skilfully that it is thought some Venetian merchants ordered the lace and sold it for high prices to visitors to Venice as genuine seventeenth century work. It is very difficult to distinguish it from the original lace although one tell-tale sign is the use of cotton thread instead of the original linen thread as cotton thread was not used for lace making until the 1830s. However, hand lacemakers soon had competition in the form of chemical lace made by embroidering patterns on to a sacrificial backing material which was then chemically removed and which superficially imitated the more solid Venetian styles very well. The lace in the image is a modern interpretation of needlepoint lace.
Wednesday, 13 July 2022
These shoulder coverings were all popular at different times during the 19 century and in many cases it is difficult to classify them. Scarves and stoles look very similar as do pelerines, fichus, berthas and collars depending on their width and when they were made. The examples here all come from the lovely ‘Lace in fashion’ exhibition which is currently on display at Wardown House Museum in Luton. Not only do they show the range of different fashions they also show how lace changed during the century from the entirely handworked, such as the fichu made in Bedfordshire Maltese lace, to a beautiful black machine lace collar.
There is a lovely wide Duchess collar of mixed Brussels bobbin and needle lace showing how the two types of handmade lace were traditionally combined and the image shows a detail of a beautiful dress including both types of Brussels lace applied to a machine lace background showing how handmade and machine lace were often combined. There is also a fichu combining pillow lace with machine lace as well as scarves with Honiton bobbin lace applied to machine made net. Several of the other collars have a machine net basis including a Limerick lace collar and another tamboured shawl. Other Irish laces popular in the second half of the 19 century are also represented with a Carrickmacross applique lace bertha, and an Irish crochet collar. I was also interested to see some examples of ‘imitation’ lace following on from my recent blog posts. The exhibition includes two Chantilly lace shawls one handmade and the other machine made; difficult to tell apart without close inspection as would have been the case when they were worn. There is also a chemical lace pelerine worked in the style of Irish crochet and a late 19 century collar worked in the style of 17 century lace, so lots of copying and convergence going on. If you want to see more you will have to visit the exhibition which includes much more lace than the few pieces I’ve described here and is well worth a visit. It is open until 11 September.