The illustrations suggest that some have a tie that runs under the chin to secure them and others are slip on varieties. They also produce ‘triangular setting nets’ for hairdressers, presumably for the customer to wear while their hair was set and dried in curlers. They were all made in the company’s Long Eaton factory near Nottingham on Leavers lace machines in rayon, cotton or silk and were sold under evocative trade names such as Clingdon, Smartset and Will ‘o wisp. Hair nets were one of the few types of lace permitted to be made during the second world war, when thread was scarce and manpower reduced and women required hair nets to work in factories. The book notes that during the war rayon was used for most hair nets but a gradual return to pure silk threads was underway in 1949.
Thursday 11 August 2022
Thursday 4 August 2022
At the turn of the nineteenth century even those selling lace curtain were advertising them as ‘imitations of real lace’ and ‘very artistic reproductions of real lace’. The image comes from a catalogue produced by the department store Whiteleys in about 1910 describing some Nottingham lace curtains. The curtains are sold in pairs and cost 9/11 for a pair measuring 4 yards by 72 inches, so quite a sizeable amount of lace. The claim to be an imitation of real lace is obviously a marketing ploy to suggest the curtains are similar to handmade lace, which was experiencing a revival at the time thanks to the philanthropic efforts of various groups particularly in England, France and Belgium. However the only link to ‘real lace’ seems to be in the design the outer border of which is based on renaissance needlelace motifs.
The second image from the same catalogue claims to be ‘reproduction cluny lace’. Cluny lace was a fairly solid bobbin lace with pattern areas linked by plaits and leaves rather like English Bedfordshire lace. This pattern does include some areas that look like leaves but the swags and ribbon shapes seem quite alien to cluny lace so this may just be early advertising blurb.
The final image is labelled a ‘facsimile of old darned knitting’. Why anyone would want old darned knitting at their windows is a mystery to me, but this copywriter obviously thought it would appeal to someone. The central area does look a bit like a blanket made from crochet squares so perhaps that is what inspired the design.
Although these curtains have been labelled by the person assembling the catalogue who probably knew little about lace (or knitting!), I find it dispiriting that machine lace curtains aren’t being advertised as a marvel of industrial ingenuity but rather as copies of ‘real lace’. They clearly aren’t genuine copies of handmade lace so why not appreciate the design and manufacturing effort that has gone into them.