Saint Catherine: patron saint of lacemakers

 

Saint Catherine is the patron saint of spinners and the lacemakers affiliated themselves to her because of the similarities between their crafts. Her feast day is the 25th of November and it was a holiday known as Catterns in many English lacemaking districts, especially in Northamptonshire, Bedfordshire and Buckinghamshire. Villages celebrated the day in different ways. For example, in Bedfordshire, the people of Ampthill brewed special home-made drinks and baked Cattern cakes made of dough and caraway seeds, while those in Poddington ate their cakes with tea and then danced to fiddle music and ate a ‘great apple pie’. The lacemakers of Wendover in Buckinghamshire called the day Candle day because it was the first day of the autumn on which they started to make lace by candlelight. They also celebrated by cooking and eating ‘wigs’, which were round cakes containing caraway seeds that resembled gingerbread, and drank ‘hot pot’, which was made with warm beer and a splash of rum all thickened with beaten eggs.

As well as feasting and dancing to the music, the children played games such as apple bobbing and jumping the candlestick. There were different ways of jumping the candlestick but in one version the children danced in a circle around the lit candle singing ‘Jack be nimble, Jack be quick, Jack jump over the candlestick’. The name of each child was inserted in the rhyme, and when their name was used they had to jump over the candlestick without extinguishing the light. Many of the candlesticks would have been about 65 cm high and with girls wearing long petticoat dresses the potential for accidents seems very high, but I have not seen any reports of injuries or burns. In some places the festivities ended with the ringing of the church bells or lighting Catherine wheels but Thomas Wright, who recorded all this information, says that the custom of using the fireworks died out in the 1890s.  

Campaign promoting lace sales after World War II

Browsing through a 1919 edition of the American trade magazine Lace and Embroidery Review I was intrigued by an initiative to revive lace and embroidery sales in the aftermath of the Second World War. To encourage sales The Lace and Embroidery Trade, based in New York, proposed a week long series of events and displays, at the end of April, to promote lace and embroidery throughout the United States. The article promises those reading it, who would have been lace buyers or retailers, that ‘the success of the event is assured’ because fashion magazines, the trade press, newspapers, department stores, specialist shops and the lace trade are all working together to make it so. It just relies on the reader playing their part by advertising in their local newspaper, making beautiful window displays and generally freshening up their department. The article continues by asserting ‘We feel confident you will co-operate to the limit of your ability’ and ‘will enlist the support of your ready-to-wear buyer’ as well as other department heads to display lace trimmed merchandise. No pressure then!

Luckily the Review seems to realise that its readers might need a little help with all this advertising and promoting so it provides templates for them. For example the illustrations above are all available either free or at cost if electroplate images are required.

There are also suggestions for how to use the images for windows cards or newspaper advertising, with appropriate layout designs and text. I think this is a very clever idea as it meant the quality of the advertising would be high, it would also be standardised throughout the country so would have brand appeal and thus link all the events together. The Review also included a page of endorsements from various lace retailers agreeing to take part in the lace week and reinforcing what a great idea the whole event would be, thus encouraging more readers to join in and become a part of it.

Following the lace week, the magazine included images of some acclaimed window displays from New York as well as more letters from those who had taken part and seen their sales increase. The initiative seems to have been successful in its aim of promoting lace sales, which had fallen during the war. In fact one reader from Chicago states that ‘this is the biggest lace and embroidery day we have had in three years and things look encouraging’.

Splinter net lace from World War II

 

I saw these examples of splinter net in the lace exhibition at the Castle Museum in Nottingham. They were made by Tatham and Co in the 1950s but are of the type produced in World War II. Splinter nets were applied to windows to stop the glass shattering in the event of bomb explosions. Even small bomb explosions can cause glass to break into sharp fragments and flying or falling glass caused many wartime injuries.

These nets not only protected those inside the house but also people walking past in the street. Instead of splinter net, some householders used strips of paper glued on to the window in a grid or criss-cross pattern. Ideally the strips were fixed to both sides of the window, with those on the outside matching the pattern on the inside. Households were allocated rolls of gummed brown paper for the purpose, which had gum on one side that had to be moistened to make it sticky.

I was surprise by the variety of nets and wondered whether they were used for different purposes. Some of them are simple woven nets while others are patterned. Some are fairly dense, and would have obscured the light making the rooms inside quite dark, and there are wartime accounts saying that some people chose not to use splinter nets because of this reason. I also wondered how householders kept the nets clean, as dirty windows and nets would also have obscure the light, although perhaps that wasn’t a concern if you were in an area that was subject to regular bombing.

Exhibition of Peter Collingwood’s macrogauzes

 

I went to see the exhibition of Peter Collingwood’s macrogauzes at Margaret Howell in London at the weekend and was delighted to see so many of them on display. Although he was a weaver, Collingwood’s macrogauzes tend more towards lace than traditional weaving because the warp threads do not remain vertical, which allowed him to move away from rectilinear shapes. The other lace-like feature of his work is that much of it is three dimensional. He is quoted as saying ‘All along my weaving has depended on finding and exploiting new techniques’ and these are certainly unusual weaving techniques.

Although this image is a bit fuzzy, because it was taken through the shop window, the macrogauze at the back shows exactly how the vertical warp threads move. The warp threads in this case are hung in a line together across the header, but are then separated and moved at angles to cross and twist with each other, to form the geometric patterns, until they finally merge on the lower rung, in a line, in the same alignment as the header threads.

It was also interesting to see so many of Collingwood’s drawings, notes and photographs in a separate display, exploring his designing and working methods. The shop window image also shows how the pieces are made into three dimensional structures with the help of fine steel rods placed diagonally from one integrated steel rod to another. This clever engineering solution also means that the pieces are woven flat, can be stored flat and potentially displayed flat until the diagonal steel rods are put in place.

Some of the details of the macrogauzes reveal how carefully they were designed and worked. The exact nature of their construction and the thread placement is stunning. If you want to find out more about Peter Collingwood and his work, he wrote several books about weaving and his archive is held at the Crafts Study Centre, University for the Creative Arts, Farnham.