Re: [lace] Re: Lace Revival of the 1970's

[Tregellas Family]

Hi,

David wrote:

  A couple of years earlier I'd bought Miss Tebbs' book and a reel of 
very fine thread at a shop in Riversdale Road, Camberwell in Melbourne. 
I'm sure many here will remember that shop.

Yes, I remember the shop David as it was in my local shopping centre 
when I lived in Camberwell, Vic.  I'd only known about bobbin lace after 
my visit to the UK and introduction to the craft from my Aunt.  Then we 
moved to Adelaide a couple of years later but bought my first bobbins 
from the little shop  - the Lacemaker I think it was called  -  Liz?  
Norma Turner was my first teacher way back then.

Hope you've all had a restful Easter and managed to put in a few pins.
Cheers,
Shirley T.  -  Autumn is here but no rain to speak of since before 
Christmas, in Adelaide, South Australia.

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RE: [lace] What do bobbin and needle lace have in common?/Needlelacerevival

[N.A. Neff]

Yes, that's part of what I meant by "historically important". The other
aspect was their political economic importance in international commerce
and domestically with sumptuary laws and prohibitions on foreign lace, etc.

Nancy
Connecticut,  USA

On Apr 1, 2018 11:31, "DevonThein"  wrote:

Another similarity that my husband pointed out was that they were both part
of a huge commercial industry with many, many people producing lace
exclusively for sale.

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Re: [lace] Colour in lace

[Diana Smith]

Is coloured lace as non-traditional as most people seem to think it is, though?

--

There were most certainly examples of coloured lace produced in the East 
Midlands as Alan S. Cole found and mentions in his Report on Northampton, Bucks 
& Beds Lace-making in 1891.
When we were researching for the exhibition Art, Trade or Mystery - Lace and 
Lacemaking in Northamptonshire,  held in 1999 we found sheets of samples of 
coloured laces in the collection of Northampton Museums.

Diana in Northamptonshire.

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RE: [lace] What do bobbin and needle lace have in common?/Needlelacerevival

[DevonThein]

Nancy writes: But needle lace and bobbin lace deserve to be treated together,
in a show such as yours for example, because of the first point above, and
because they are functionally similar enough (in spite of fundamental
structural differences) that they can be combined harmoniously (Duchesse with
Point de Gaze inserts, for a historical example).

Another similarity that my husband pointed out was that they were both part of
a huge commercial industry with many, many people producing lace exclusively
for sale.

Devon

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RE: [lace] Re: Lace Revival of the 1970's-Pat Read

[DevonThein]

Dear Jane,
Thank you for this long explanation of the origins of your mother, Pat Read
and Lucy Kincaid’s book Milanese Lace: an Introduction.
The linkage with the Maidmonts confirms one of my theories, that there were
various linkages to the early 20th century lace revival in the lace revival of
the late 20th century. I have just checked my tattered copy of Milanese Lace
and see that it was published in 1988. I remember the first time I saw it.
(Sort of like the Kennedy assassination, everyone remembers where they were.)
I was taking a class in Crane House, an historic house in Montclair, NJ which
met at night. This was my “night out” when my husband watched our small
daughter, born in 1985. Somebody showed me the book and I was transformed.
Having only done Torchon before this, the idea of the design possibilities of
Milanese tape lace was overwhelming. It was among the most historic of laces,
but many of the designs were very contemporary, the best of both worlds. I
remember marveling with my teacher over the Peasant Girl figure on p. 126.
Indeed there were very few things in that book that were not motifs.
And just when you thought things couldn’t get any more interesting, New
Braids and Designs in Milanese Lace came out in 1994, with color in the
designs.
Louise Colgan and Sandi Woods continued the progression with their work.
I think for the general public, they would see the pieces from the first book,
all in white as lace. But the colored pieces they would not identify as lace.
Do we identify them as lace?
Devon

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RE: [lace] Re: Lace Revival of the 1970's

[David C Collyer]

Dear Jane and other Friends,

Grandma retired. By now, Mum had a family and spent 4 years abroad. We were in 
Tasmania and I remember Mum being interviewed on TV (ABC?) about her lacemaking 
and I thought she did some teaching (I must check this!). 
I've sometimes wondered what happened to lacemaking in Tasmania in the '60s.

I smiled when I read this as it was in Tasmania that I bought my first pillows. 
That was years before I could maker bobbin lace but I knew what they were. It 
was in a big old barn of an antique shed out at New Norfolk where I spied TWO 
Princess Pillows from 1903. There was a scrap of lace but only 3 bobbins. I 
reckon that was about 1981. A couple of years earlier I'd bought Miss Tebbs' 
book and a reel of very fine thread at a shop in Riversdale Road, Camberwell in 
Melbourne. I'm sure many here will remember that shop.

However it wasn't until early in 1996 after I'd joined this Arachne List that I 
began to learn Bobbin Lace. In fact I'm probably the first person to learn it 
online! Wow that's already over 20 years ago and I've learned a lot more since 
then.
Davide Downunder in Ballarat, AUS

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[lace] Re: Lace Revival of the 1970's

[Jane]

Dear All,

Goodness, so much activity on Arachne, so much to read and all so 
interesting. What with a busy week, there's been no time to write 
anything myself. Perhaps this is no longer relevant, but I would like to 
contribute to the discussion.


My Grandmother learned bobbin lace-making from Margaret Maidment at 
Battersea Polytechnic. Grandma was awarded a "Blue Star" certificate at 
the end of her course in 1927 (Grandma also qualified in dressmaking). 
During WWII Grandma lost touch with Miss Maidment and although she tried 
to make contact at the end of the war, she never heard anymore. However, 
we have about 3 copies of her book between us.


After the war, Grandma taught "Make do and mend" at her own house and at 
the same time began to re-introduce bobbin lace making. I quote from my 
notes "Dad had the impression that she was trying to restart things 
after the war".
My Grandmother taught several lace classes in the Lewisham area through 
the '50s & '60s. In 1944 Mum started going to her classes, having 
obtained permission from her school to do so. I believe Grandma hoped 
Mum would take over her classes, but the LCC started Mum on her own and 
she had at least two classes a week. In other words, bobbin lace was 
quite popular.


Grandma retired. By now, Mum had a family and spent 4 years abroad. We 
were in Tasmania and I remember Mum being interviewed on TV (ABC?) about 
her lacemaking and I thought she did some teaching (I must check this!). 
I've sometimes wondered what happened to lacemaking in Tasmania in the '60s.


Back in the UK. Margaret Thatcher, Minister for Education, wanted to 
close all small village schools. To keep ours open the locals came up 
with a plan to show how important it was and how much it was used. They 
introduced evening classes for adults. Wine-making was very popular 
(judging by the demi-johns left bubbling around the old boiler in the 
upper juniors), but Mum's crochet and bobbin lace class was so popular 
they added a second. The ploy worked, the school remained open (and is 
now both popular and much larger), but the adult classes were moved to 
the secondary school - where they had proper sized chairs to sit on.


It was about then that Adult Education was introduced and because it was 
so heavily subsidised the classes proved very popular. Mum went from two 
to six classes in the S.E. London area.


I grew up with the Maidment book and it was always difficult finding new 
patterns. Mostly resources were continental, Knypplerskan has already 
been mentioned. One book I remember in particular because Mum bought it 
for the lace depicted on the front cover. To her disgust, the pattern 
was not in the book, so she worked it out herself - then gave it to me 
to make. It took me 2 years, starting in 1972 I think. (You can see the 
cover of "KantKlossen" by JP Brand at this URL 
https://www.abebooks.co.uk/collections/sc/kantklossen-lace-making/v0sA6yZoZUuvIcZaNszK9 
)


As many have observed, the advent of Adult Education led to a revival in 
many crafts, especially lacemaking. Suddenly lace books were published, 
suppliers replaced shops and the Lace Guild was born.


The introduction of a City and Guilds Certificate was the next step 
forward. It only ran for a short time, and I've never understood why. 
However, it was a very demanding course and I heard stories about how 
much time was needed to complete the work. Mum provided some "Master 
Classes" in techniques but that was the limit of our involvement.


The one thing it seemed important for, is that it made lacemakers think 
about design. They *had* to design their own patterns. This, I think, 
was a massive change. Up until then, most looked for patterns elsewhere 
and only teachers (and not all of them) designed lace.


And then there is the change in purpose in lacemaking. When I was small, 
lace was functional. Lacemakers made edgings to adorn hankies, mats or 
doilies, tablecloths - or all over mats if they were brave, or it was 
used for personal adornment such as collars and cuffs (and that pretty 
coronet in Knypplerskan).


Now, there seems to be a huge emphasis on lace as an art form, we make 
motifs and pictures and add colour. Lace is the end product. Of course, 
we still make functional lace, but its really changed. This was brought 
home to me the other day when someone posted a picture of a very pretty 
Bedfordshire edging to the facebook bobbin lacemakers group. I was 
floored when someone asked "what is the hole in the middle for?" After 
several messages of speculation it was pointed out that this was where 
the fabric went for the mat/doily ... How times have changed.


Someone (Devon?) asked about the Craft Council. Is this the same as the 
British Craft Council? I had a panel of 10 motifs included in a major 
exhibition of theirs in 1981. I don't know much more about the BCC. I do 
know that the motifs made quite a stir. Its funny thinking back. Now the 
motifs are nothing - very 

Re: RE: [lace] contemporary needle lace

[Catherine Barley]

Original message from Devon
Subject : RE: [lace] contemporary needle lace


I have been fortunate to convince Ros Hills to loan to the exhibit two works.
One is  I am woman, which can be seen on p. 120 of the book  Merehurst
Embroidery Skills Needlelace, by Pat Earnshaw. 
Devon

Dear Spiders

I should like to dispel any misconception that some might have about my 
aversion to coloured Contemporary needlelace, as opposed to fine white 
Traditional needelace.

If you have a copy of my book 'Needlelce Designs & Techniques Classic & 
CONTEMPORARY' on your bookshelves or can borrow one from somewhere, the very 
first piece of my work you will see is the COLOURED 3-D strawberries on the 
front cover, which was designed and worked by me in 1989, not a piece of fine 
white Traditional needlelace.  These strawberries also appear in Jill Nordford 
Clark's book 'Needlelace Techniques & Inspiration published a decade later in 
1999.  Then there are the 3-D Pea Pods with admittedly a fine white 3-D 
butterfly on page 143 - also in the same book by Pat Earnshaw, as Ros Hills' 'I 
Am Woman' pub by Merehurst as part of their EMBROIDERY SKILLS series.  Ros 
herself says and I quote

'The actual working of the needlace fabric I find tedious and exacting, but to 
take a single thread and create with it a fabric, will always fascinate me 
..'

 She does not describe this work as LACE but uses the word FABRIC twice in her 
description.  In that very same book on page 109 you will see 'Garden Gate' by 
Nenia Lovesey (whch I am the proud owner of), page 110 'Pea Pods' by Catherine 
Barley, 'Brighton Pavilion' by Ann Collier, page 114 'Samurai Two' by Barbara 
Hirst, and page 120 'I Am Woman' by Ros Hills and all are worked using 
needlelace techniques but I would not classify them as 'LACE' in the strict 
sense of the word as I understand - I include myself of course in my 
observations, but would describe them as being worked in a Contemporary STYLE 
rather than a Traditional LACE.  On page 59 of Virginia Churchill Bath's book 
'LACE' is the wonderful 'Judgement of Solomon' panel from the V & A - now that 
is needlelace in all it's glory!  I saw this panel at the V & A way back in the 
early 80's when one didn't need to make an appointment for a 1 hour slot and 
inform them of the pieces you would like to see, but in the days w!
 here all the lace was in a separate section with doors that could be locked 
when necessary and open every day of the week, to browse through the pull out 
panels at leisure and stay as long as one liked, just drooling over all the 
wonderful laces.

Going back to my own book you will see on pages 114/115 the stumpwork wedding 
scene where all the clothing is worked in coloured needlelace, but of course 
the bride's dress, as one would expect, is fine white 'lacey' needlelace, all 
worked in 1989.  Page 27 shows an adaptation of a Dover design, worked in 
Venetian Gros Point techniques, and this was worked in 1983 - 35years ago!  I 
too took some criticism for having dared to introduce a small amount of pink 
coloured silk thread into my interpretation!

If you go to my website and scroll down to 'Venetian Gros Point' you will see a 
black chiffon jacket with COLOURED needlelace petals (beads too!) applied to 
the painted flowers on the fabric, also an evening bag worked in various shades 
of pink/ecru, again worked over 30 years ago in the 1980's.  Take a look also 
at the stumpwork 3-D section where you will see quite a few projects worked in 
coloured thread and solid corded Brussels.  Move on to the bobbin Lace section 
and see the 3-D Bobbin lace detachable pockets worked in gold metallic thread 
and worked in the late 1970's - almost 40 years ago, when I knew absolutely 
nothing about Needlelce!  I think I hardly fit the description of 'living in 
the past'!

When commissioned by Batsford to write my book, I gave a great deal of thought 
as to it's content and didn't want it to be full of the work of others, but 
something different.  Some may feel that Venetian Gros Point would be far too 
difficult as a first project, but corded Brussels is by far the easiest/most 
simple stitch to work, as it has a cord to support it, whereas the more open 
'lacey' stitches are far more difficult to control, as no doubt many of you 
will have discovered for yourselves.  This book is progressive with each new 
project reinforcing techniques mastered in the previous one, whilst progressing 
to a new technique in addition.  Finally, having learnt the traditional 
techniques with the TWISTED buttonhole stitch in Hollie Point, then the more 
open filling stiches and grid fillings in Point de Gaze, the book moves on to 
the CONTEMPORARY projects that utilise the TRADITIONAL techniques learnt 
previously.

I am open minded and very receptive to Contemporary Needlelace but equally 
concerned that the Traditional techniques are being overlooked by many and in 
great danger of disappearing into 

[lace] Instagram versus Facebook

[Ann Humphreys]

I belong to a few lacemaking groups on Facebook. I’ve opened an Instagram 
account but I don’t really understand how it works. Can anyone explain please. 
Ann
UK

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Re: [lace] Instagram versus Facebook

[Catherine Barley]

Catherine Barley Needlelace
www.catherinebarley.com

Original message
>From : mdhow...@bigpond.net.
Subject : Re: [lace] Instagram versus Facebook

OK Devon, you have uncovered me. I confess that I am purplenana6.
I started using Instagram a couple of years ago because that was the 
platform my children were using. 

Dawn Howell


Oh dear, Facebook, Instagram, Pinterest, Llinkedin, passwords, pin numbers, 
vehicle registration numbers when paying to park my car,mobile phones, learning 
to use Windows 10 and now even talk of driverless cars - it's all just too much 
for my ageing brain now that I'm a senior citizen and have grandchildren!  
Modern technology is wonderful but advancing far too fast for those of us who 
are no longer in the workplace and needing little use for it all.  I'm a very 
organised creature of habit and even my local supermarket sends me an email the 
evening before I do my weekly shop, to tell me the discounts that are available 
on such items as deodorants, hairspray, dishwasher tablets etc that I might 
have bought only the week before and certainly don't need to replace just one 
week later!  'Big Brother' is watching me and nothing is private any more!

When I was a child we grew up without central heating, television, washing 
machines, credit cars, land line telephones and certainly not mobile phones, 
petrol was rationed so hardly anyone owned a car, we never locked the back door 
as no one had anything worth stealing! We had an air raid shelter in the 
garden, washed our milk bottles and put them back outside for the milkman to 
collect, would take empty lemonade bottles back to the Off License to get 6d (2 
1/2p in todays money), we recycled them in those days, so nothing new there!  
Life was simple but we were happy!

Catherine Barley

Catherine Barley Needlelace
www.catherinebarley.com















---
T

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