[lace] Lace Revival of the 1970's

[Elizabeth Ligeti.]

Yes Shirley T. and David,  I remember the  shop called The Lacemaker very
well!!
Goodness!  It was about the only place you could get lacemaking supplies. It
was very sad when it closed.

Before that, though, I used to buy cones of linen thread at a little shop in
the city where they kept it on a top shelf – and a very old man used to
climb up a ladder to get it, - and we were always so afraid he would
fall!
I still have a couple of cones of it left – but in the finer threads – 100
and 120 I think. Hmm! I Must get it out and use it up!!!  I believe it is
Brockens thread.

Then I discovered that Lace could be made with a cotton thread – and The
Lacemaker opened, - and as that was Much nearer to my home, I always shopped
there till it closed.

Now we rely on suppliers who come to Guild Lace Days.

Regards from Liz. In Melbourne, Oz.

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Fwd: [lace] Lace revival

[Catherine Barley]

Catherine Barley Needlelace
www.catherinebarley.com

Original message
>From : catherinebar...@btinternet.com
Date : 27/03/2018 - 18:14 (GMTDT)
To : ec...@cix.co.uk, lace@arachne.com
Subject : Fwd: [lace] Lace revival

Original message
>From : catherinebar...@btinternet.com
Date : 27/03/2018 - 17:36 (GMTDT)
To : ec...@cix.co.uk, lace@arachne.com
Subject : Re: [lace] Lace revival

I was also taught bobbin lace by Nenia Lovesey in the late 60's early 70's 
after having seen her demonstrating in a church hall in Crowthorne, Berks where 
I lived.  I was fascinated and asked where I could learn, to which she replied 
"at the Berkshire craft Centre in Wokingam in what was the old Brewery".  I 
enrolled and took to bobbin lace like a duck to water, just couldn't get enough 
of it!  Nenia always told us to be beware as once we had caught the Lace Fever, 
there was no cure, and how right she was! I also learnt from the Swedish 
Knippling book with the accompany brown cards printed with the Torchon patterns 
and still have both book and patterns today.

Nenia was invited to be Craft Co-ordinator at South Hill Park Arts Centre in 
Bracknell and asked me to take over the bobbin lace classes at the Wokingham 
Craft Centre.  I said I couldn't possibly as I felt I had insufficient 
knowledge, but she insisted and said I would be okay, so I agreed.   Once she 
had got South Hill Park Arts Centre up and running she asked me to teach bobbin 
lace there too, which once again I did.  However, there were no qualifications 
that one could study for in those days and Nenia had also been asked to teach a 
City & Guilds Creative Textiles course at Windsor & Maidenhead College, which 
covered everything that made a textile, including both bobbin and needlelace.  
This was my chance to gain some sort of qualification, so jumped at the 
opportunity!

When I signed up for the bobbin lace class in the late 60's my youngest child 
Suzanne had just started school, so with both of them at school I was able to 
have a couple of hours to myself to indulge in my new found hobby, but by the 
time I enrolled on the C & G course at Windsor, they were both teenagers, so 
some years had passed before I got to this stage!

I knew nothing whatsoever about needlelace and had probably looked at many 
examples, assuming in my ignorance that they were bobbin lace - wrong!  I 
excelled at needlework at school in the late 40's/early 50's and would have 
loved to have earned a living at it, but my teacher at school told my parents 
that it was hard work and poorly paid, so I had to drop the needlelwork and 
take the shorthand/typing class.  Britain was still recovering from the war in 
the early 50's and no way would I have been able to earn a decent living by 
needlelwork!  How I would have love to had been an apprentice at The Royal 
school of Needlelwork, so you can imagine how honoured felt when several 
decades later I was invited asked to teach needlelace the apprentices at the 
RSN which was then based at Princes Gate, London.  I taught them one whole day 
a week for six weeks.

Nenia was an incredible woman, a member of the World Crafts Council and there 
was nothing that she couldn't do.  She taught us to spin, weave, card a fleece, 
work Irish crochet, knit, work Sans Blas, bobbin lace, needllace, 
Carrickmacross and so many other things, too many to mention!  Today she would 
have been awarded an OBE for services to lacemaking but sadly she was never 
honoured with such a prestigious award, although more than well deserved.  Most 
of us who make needlelace today, would not know how, had it not been for Nenia, 
as to the best of my knowledge she was the only person who knew how to make it! 
 None of the other guilds in 1980 were remotely interested in needlelace, 
largely due to the fact that they knew nothing about it!  As a result, Nenia 
and a small group of her students at the publication party for the launch of 
her first book 'Needlepoint Lace' published by B T Batsford in 1980, decided to 
form our own Guild, which ran until October 2017.  However, as!
  not one single member came forward to join our committee at the AGM last 
year, the Guild of Needleace had no option but to fold!  What a sad state of 
affairs and we really do owe it Nenia to continue the legacy she has left to 
us.  Is there no one out there who  makes beautiful fine white needlelace and 
who can pass on these techniques for the benefit of future generations?  I have 
done my level best over several decades, travelling many thousands of miles 
both here in the UK and overseas to pass on my skills, but all I hear is "I 
couldn't possibly see to do such fine work" but I see beautiful fine white 
Honiton lace still being made, along with gorgeous Binche, Bucks etc so why is 
it so difficult to find a tutor to teach 'Traditional Needlelce" I wonder?

Nenia wrote a book 'Reflections on Lace' for her grandchildren, pu

Re: [lace] Lace revival - bobbins

[Catherine Barley]

If  you have received my response to Kathleen's email more than once, please 
accept my sincere apologies.  As a subscriber to Arachne myself. it as come 
through in my Spam
folder rather than my mailbox  P!ease would someone email me to acknowledge 
receipt if you have received it in your mailbox.

Many thanks

Catherine Barley UK  

Catherine Baey Needlelace
www.catherinebarley.com

Original message
>From : ec...@cix.co.uk
Date : 27/03/2018 - 11:42 (GMTDT)
To : lace@arachne.com
Subject : [lace] Lace revival - bobbins

Strange how this thread has revived so many memories! When I started making 
lace with Nena Lovesey in 1970, with my Belgian bobbins, she not only taught me 
to make lace, she taught me all sorts of things about lace. This continued with 
talks which she gave to emerging lace groups. So I learned about the East 
Midlands lace making area, and its industry, and about Honiton lace. I learned 
about English spangled bobbins.

My husband, on a journey to London, passed through Woburn, and spotted an 
antique shop. He collected antique cameras, so went in to investigate, and 
found, not cameras but lace bobbins. He bought about 70 bobbins, very cheaply 
because there was as yet no demand for them. The owner was delighted that they 
would be used to make lace! On his way back he called into the shop again and 
the owner had dug out more bobbins, which he bought. So I started my collection 
of antique spangled bobbins, with about 120 including a few with inscriptions, 
and some bone ones.  How lucky was I?

Kathleen, in a  brighter Berkshire.



Sent from my iPad

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Re: [lace] Lace revival

[Catherine Barley]

Catherine Barley Needlelace
www.catherinebarley.com

Original message
>From : catherinebar...@btinternet.com
Date : 27/03/2018 - 17:36 (GMTDT)
To : ec...@cix.co.uk, lace@arachne.com
Subject : Re: [lace] Lace revival

I was also taught bobbin lace by Nenia Lovesey in the late 60's early 70's 
after having seen her demonstrating in a church hall in Crowthorne, Berks where 
I lived.  I was fascinated and asked where I could learn, to which she replied 
"at the Berkshire craft Centre in Wokingam in what was the old Brewery".  I 
enrolled and took to bobbin lace like a duck to water, just couldn't get enough 
of it!  Nenia always told us to be beware as once we had caught the Lace Fever, 
there was no cure, and how right she was! I also learnt from the Swedish 
Knippling book with the accompany brown cards printed with the Torchon patterns 
and still have both book and patterns today.

Nenia was invited to be Craft Co-ordinator at South Hill Park Arts Centre in 
Bracknell and asked me to take over the bobbin lace classes at the Wokingham 
Craft Centre.  I said I couldn't possibly as I felt I had insufficient 
knowledge, but she insisted and said I would be okay, so I agreed.   Once she 
had got South Hill Park Arts Centre up and running she asked me to teach bobbin 
lace there too, which once again I did.  However, there were no qualifications 
that one could study for in those days and Nenia had also been asked to teach a 
City & Guilds Creative Textiles course at Windsor & Maidenhead College, which 
covered everything that made a textile, including both bobbin and needlelace.  
This was my chance to gain some sort of qualification, so jumped at the 
opportunity!

When I signed up for the bobbin lace class in the late 60's my youngest child 
Suzanne had just started school, so with both of them at school I was able to 
have a couple of hours to myself to indulge in my new found hobby, but by the 
time I enrolled on the C & G course at Windsor, they were both teenagers, so 
some years had passed before I got to this stage!

I knew nothing whatsoever about needlelace and had probably looked at many 
examples, assuming in my ignorance that they were bobbin lace - wrong!  I 
excelled at needlework at school in the late 40's/early 50's and would have 
loved to have earned a living at it, but my teacher at school told my parents 
that it was hard work and poorly paid, so I had to drop the needlelwork and 
take the shorthand/typing class.  Britain was still recovering from the war in 
the early 50's and no way would I have been able to earn a decent living by 
needlelwork!  How I would have love to had been an apprentice at The Royal 
school of Needlelwork, so you can imagine how honoured felt when several 
decades later I was invited asked to teach needlelace the apprentices at the 
RSN which was then based at Princes Gate, London.  I taught them one whole day 
a week for six weeks.

Nenia was an incredible woman, a member of the World Crafts Council and there 
was nothing that she couldn't do.  She taught us to spin, weave, card a fleece, 
work Irish crochet, knit, work Sans Blas, bobbin lace, needllace, 
Carrickmacross and so many other things, too many to mention!  Today she would 
have been awarded an OBE for services to lacemaking but sadly she was never 
honoured with such a prestigious award, although more than well deserved.  Most 
of us who make needlelace today, would not know how, had it not been for Nenia, 
as to the best of my knowledge she was the only person who knew how to make it! 
 None of the other guilds in 1980 were remotely interested in needlelace, 
largely due to the fact that they knew nothing about it!  As a result, Nenia 
and a small group of her students at the publication party for the launch of 
her first book 'Needlepoint Lace' published by B T Batsford in 1980, decided to 
form our own Guild, which ran until October 2017.  However, as!
  not one single member came forward to join our committee at the AGM last 
year, the Guild of Needleace had no option but to fold!  What a sad state of 
affairs and we really do owe it Nenia to continue the legacy she has left to 
us.  Is there no one out there who  makes beautiful fine white needlelace and 
who can pass on these techniques for the benefit of future generations?  I have 
done my level best over several decades, travelling many thousands of miles 
both here in the UK and overseas to pass on my skills, but all I hear is "I 
couldn't possibly see to do such fine work" but I see beautiful fine white 
Honiton lace still being made, along with gorgeous Binche, Bucks etc so why is 
it so difficult to find a tutor to teach 'Traditional Needlelce" I wonder?

Nenia wrote a book 'Reflections on Lace' for her grandchildren, published again 
by B T Batsford in 1988 (now out of print of course), but f you can get hold of 
a copy or borrow it from your Guild library, I recommend that you read it.  

Fwd: [lace] Lace revival

[Catherine Barley]

Catherine Barley Needlelace
www.catherinebarley.com

Original message
>From : catherinebar...@btinternet.com
Date : 27/03/2018 - 17:36 (GMTDT)
To : ec...@cix.co.uk, lace@arachne.com
Subject : Re: [lace] Lace revival

I was also taught bobbin lace by Nenia Lovesey in the late 60's early 70's 
after having seen her demonstrating in a church hall in Crowthorne, Berks where 
I lived.  I was fascinated and asked where I could learn, to which she replied 
"at the Berkshire craft Centre in Wokingam in what was the old Brewery".  I 
enrolled and took to bobbin lace like a duck to water, just couldn't get enough 
of it!  Nenia always told us to be beware as once we had caught the Lace Fever, 
there was no cure, and how right she was! I also learnt from the Swedish 
Knippling book with the accompany brown cards printed with the Torchon patterns 
and still have both book and patterns today.

Nenia was invited to be Craft Co-ordinator at South Hill Park Arts Centre in 
Bracknell and asked me to take over the bobbin lace classes at the Wokingham 
Craft Centre.  I said I couldn't possibly as I felt I had insufficient 
knowledge, but she insisted and said I would be okay, so I agreed.   Once she 
had got South Hill Park Arts Centre up and running she asked me to teach bobbin 
lace there too, which once again I did.  However, there were no qualifications 
that one could study for in those days and Nenia had also been asked to teach a 
City & Guilds Creative Textiles course at Windsor & Maidenhead College, which 
covered everything that made a textile, including both bobbin and needlelace.  
This was my chance to gain some sort of qualification, so jumped at the 
opportunity!

When I signed up for the bobbin lace class in the late 60's my youngest child 
Suzanne had just started school, so with both of them at school I was able to 
have a couple of hours to myself to indulge in my new found hobby, but by the 
time I enrolled on the C & G course at Windsor, they were both teenagers, so 
some years had passed before I got to this stage!

I knew nothing whatsoever about needlelace and had probably looked at many 
examples, assuming in my ignorance that they were bobbin lace - wrong!  I 
excelled at needlework at school in the late 40's/early 50's and would have 
loved to have earned a living at it, but my teacher at school told my parents 
that it was hard work and poorly paid, so I had to drop the needlelwork and 
take the shorthand/typing class.  Britain was still recovering from the war in 
the early 50's and no way would I have been able to earn a decent living by 
needlelwork!  How I would have love to had been an apprentice at The Royal 
school of Needlelwork, so you can imagine how honoured felt when several 
decades later I was invited asked to teach needlelace the apprentices at the 
RSN which was then based at Princes Gate, London.  I taught them one whole day 
a week for six weeks.

Nenia was an incredible woman, a member of the World Crafts Council and there 
was nothing that she couldn't do.  She taught us to spin, weave, card a fleece, 
work Irish crochet, knit, work Sans Blas, bobbin lace, needllace, 
Carrickmacross and so many other things, too many to mention!  Today she would 
have been awarded an OBE for services to lacemaking but sadly she was never 
honoured with such a prestigious award, although more than well deserved.  Most 
of us who make needlelace today, would not know how, had it not been for Nenia, 
as to the best of my knowledge she was the only person who knew how to make it! 
 None of the other guilds in 1980 were remotely interested in needlelace, 
largely due to the fact that they knew nothing about it!  As a result, Nenia 
and a small group of her students at the publication party for the launch of 
her first book 'Needlepoint Lace' published by B T Batsford in 1980, decided to 
form our own Guild, which ran until October 2017.  However, as!
  not one single member came forward to join our committee at the AGM last 
year, the Guild of Needleace had no option but to fold!  What a sad state of 
affairs and we really do owe it Nenia to continue the legacy she has left to 
us.  Is there no one out there who  makes beautiful fine white needlelace and 
who can pass on these techniques for the benefit of future generations?  I have 
done my level best over several decades, travelling many thousands of miles 
both here in the UK and overseas to pass on my skills, but all I hear is "I 
couldn't possibly see to do such fine work" but I see beautiful fine white 
Honiton lace still being made, along with gorgeous Binche, Bucks etc so why is 
it so difficult to find a tutor to teach 'Traditional Needlelce" I wonder?

Nenia wrote a book 'Reflections on Lace' for her grandchildren, published again 
by B T Batsford in 1988 (now out of print of course), but f you can get hold of 
a copy or borrow it from your Guild library, I recommend that you read it.  

RE: [lace] Lace Revival of the 1970s

[DevonThein]

Lyn feels that there was very little official fostering of crafts in the US,
as opposed to England, and I think she may be right. Most of these crafts are
not considered heritage items in the US. (Maybe quilting is.)

One thing that is mentioned in Andrea Plum’s article was that there were a
lot of pretty colored publications. Maybe we were reading these publications
in the US. Several people have mentioned women’s magazines, and Golden
Hands.

Andrea Plum also says that “the 1970s craft revival can also be linked to
changes in fine art ideology at this time. Contemporary art in the twentieth
century was largely defined by the rise of conceptualism, which gave
precedence to ideas over making. The art historian Edward Lucie-Smith provided
a critical context for the craft revival in his text. The Story of Craft
(1980) arguing that the renewed interest in craft was a result of changes in
fine at: “there began to appear a hunger for physical virtuosity in the
handing of materials, something which many artists were no longer happy to
provide.””

This also resonates a bit with what people have been saying, for instance
Adele’s observation that people were sick of the 1960s aesthetic.

Devon


Sent from Mail for Windows 10

From: lynrbai...@supernet.com
Sent: Tuesday, March 27, 2018 12:08 PM
To: lace@arachne.com
Subject: [lace] Lace Revival of the 1970s

There is a big difference between either side of the Pond. On the Eastern side
there was frequently a relative who made lace.  One knew of its existence,
usually.  It was around.  You might have had to look for it, but it was there.
In the United States, certainly, one didn't know what it was.  No one did it.
That being said, I'm sure someone did it, but so few as to be the exception to
the rule. As travel across the Pond became more common with ordinary people,
exposure increased, and at least two Americans learned the basics in England
and brought the enthusiasm home.  I have heard that Holly would sit on a
corner in downtown Ithaca making lace.
The other difference is that it appears that on the Eastern side, crafts,
especially traditional ones practiced in the area were fostered officially.
There is very, very little of that in the US.
When I'm sitting making lace in America, people ask what I am doing, unless
they are Canadian.  I will never forget working on my travel pillow at
Heathrow and a young woman ask me what kind of lace I was making.  That's the
difference.



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please ignore it. I read your emails."

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Re: [lace] Lace revival

[Catherine Barley]

) all 
praising her for her hard work and dedication to reviving so many of the old 
crafts that were in danger of dying out, mainly due to the war years!  The same 
thing is about to happen if we don't endeavour to keep the various forms of 
lacemaking alive; difficult I know in this modern world, which is so very 
different from the one that most of us grew up in.  There is so much 
fascinating history/information in her book, even talking about how as a child 
she used to sit under the table in London where the Tebbs sisters wer!
 e teaching lace!   

Catherine Barley
Henley-on-Thames, UK
 
Catherine Barley Needlelace
www.catherinebarley.com

Original message
>From : ec...@cix.co.uk
Date : 27/03/2018 - 09:32 (GMTDT)
To : lace@arachne.com
Subject : [lace] Lace revival

I started to make bobbin lace in 1970. Nena Lovesey started me off with a 
simple pillow, some Belgian bobbins, and excellent basic instruction! I loved 
it! When she thought I was able enough, she introduced me to the Swedish 
Knipplerscan books. There were two paperback books of patterns, starting with 
the simplest and gradually increasing the complexity. 

Nena believed that the two wars had split families up, and moved them apart, so 
that grandparents were no longer able to pass on craft skills to grandchildren. 
So she instigated the opening of a craft centre, and collected as many crafts 
people as she could to pass on their skills to another generation. This 
included “male” crafts as well as “female” ones. I think she had a big 
influence on lace, in this area of the UK at least, where she taught and 
encouraged so many lace makers.



Kathleen
In a wet and chilly Berkshire UK

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[lace] Lace Revival of the 1970s

[lynrbailey]

There is a big difference between either side of the Pond. On the Eastern side 
there was frequently a relative who made lace.  One knew of its existence, 
usually.  It was around.  You might have had to look for it, but it was there.  
In the United States, certainly, one didn't know what it was.  No one did it.  
That being said, I'm sure someone did it, but so few as to be the exception to 
the rule. As travel across the Pond became more common with ordinary people, 
exposure increased, and at least two Americans learned the basics in England 
and brought the enthusiasm home.  I have heard that Holly would sit on a corner 
in downtown Ithaca making lace.  
The other difference is that it appears that on the Eastern side, crafts, 
especially traditional ones practiced in the area were fostered officially.  
There is very, very little of that in the US.  
When I'm sitting making lace in America, people ask what I am doing, unless 
they are Canadian.  I will never forget working on my travel pillow at Heathrow 
and a young woman ask me what kind of lace I was making.  That's the difference.
 


"My email sends out an automatic  message Arachne members,
please ignore it. I read your emails."

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Re: [lace] Lace Revival

[Kathleen Harris]

Certainly the craft centre which Nena Lovesey ran received advice from the CAC, 
but I don’t think they supplied funding, although they may have done. The 
committee which was formed to oversee the centre was chaired by my husband, and 
I know he was in correspondence with the CAD, but the centre was independent of 
them. The committee did all the manual work involved in getting the premises 
ready!

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Re: [lace] Lace Revival of the 1970s

[Ilske Thomsen]

after my memory it was 1987 the year I spent several months in NY.

Ilske

> Am 26.03.2018 um 20:16 schrieb Cynce Williams :
> 
> There was also the US bobbin lace stamp (well 4 stamps) organized by Mary
> McPeak.
> 
> Bu I can’t remember what year—1980’s sometime.
> 
> Cynthia

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[lace] Lace Revival

[DevonThein]

You would think that someone had written about the Craft revival of the 1970s,
but when I search for this topic, only one article comes up, by Andrea Peach
called Crafting Revivals? An investigation into the craft revival of the
1970s: can contemporary comparisons be drawn? She has made it available to
everyone at this site:
https://openair.rgu.ac.uk/handle/10059/2695
It is a very short article and I encourage everyone to read it.
She writes: Craft in Britain flourished during the 1970s largely due to the
activities of the Crafts Advisory Committee (CAC) now the Crafts Council,
which was established in 1970. The CAC was a state backed, central
organization charged specifically with shaping a new identity for Britain’s
crafts. Its remit included raising the professional status of crafts, and
promoting the craftsman as ‘artist”….
The CAC facilitated and nurtured craft through the allocation of grants and
loans, the commissioning and patronage of work, the organization of
exhibitions, publications and publicity, as well as the running of
conservation projects and training. It was responsible for the creation of
Crafts magazine in 1973, which is still in circulation. Crafts was visually
exciting in comparison to other art magazines of the time, containing large
colour photographs and profiles of makers involved with “the new crafts”.

No one has mentioned the Crafts Advisory  Committee, and yet so many of our
descriptions of how we got started include going to some class that someone
had organized. Was it the Crafts Advisory Committee that was funding these? I
am not sure how this applies to what was happening in the US, although clearly
we benefited from a ripple effect.

Devon

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[lace] Lace revival - bobbins

[Kathleen Harris]

Strange how this thread has revived so many memories! When I started making 
lace with Nena Lovesey in 1970, with my Belgian bobbins, she not only taught me 
to make lace, she taught me all sorts of things about lace. This continued with 
talks which she gave to emerging lace groups. So I learned about the East 
Midlands lace making area, and its industry, and about Honiton lace. I learned 
about English spangled bobbins.

My husband, on a journey to London, passed through Woburn, and spotted an 
antique shop. He collected antique cameras, so went in to investigate, and 
found, not cameras but lace bobbins. He bought about 70 bobbins, very cheaply 
because there was as yet no demand for them. The owner was delighted that they 
would be used to make lace! On his way back he called into the shop again and 
the owner had dug out more bobbins, which he bought. So I started my collection 
of antique spangled bobbins, with about 120 including a few with inscriptions, 
and some bone ones.  How lucky was I?

Kathleen, in a  brighter Berkshire.



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[lace] Lace Revival

[Brenda Paternoster]

I first became aware of bobbin lace in 1975.

It had been a bad time for me having had two miscarriages in the first half of
the year and I had a strong urge to do something creative;  if I couldn’t
make another baby then it would have to be something else.  That August, to
commemorate the Battle of Britain, a local department shop had a huge panel of
lace displayed in a window with planes, parachutes etc.  One of a  limited
edition made after WW2 and which Carol Quarini has recently used one in
conjunction with her study of lace curtains - see the Lace Guild page on
Facebook.

I remember standing looking at it for ages - well as long as the 3 year old
would allow.  I knew it wasn’t knitted or crocheted, or a form of regular
weaving but I couldn’t work out how it was made.  I had been going to an
Adult Education class making soft toys, sunglasses case etc and on one
occasion I’d worn a cardigan trimmed with a bit of lace which I now know was
Barmen machine made.  The teacher had looked at it and said “did you make
that?” and my response was "of course not, I bought it in the market!”
“Well it looks the same as what we make in the lace class."

So, I joined the  lacemaking class and by the end of the first year I’d made
a couple of hankie edgings, an edging for my daughter’s dress and a couple
of small mats - and I was very pregnant with the twins which meant lacemaking
went onto the back burner for a year or so.

I went back to classes in the late 1970s and things had really changed.
Instead of using white thread or white thread or if you were really good it
could be black thread, everyone was using a different colour!  So I started
making a dark grey coloured mat with pink gimps (and I used crochet thread for
the gimp!).  The teacher thought that the change had come about because by
then the UK had joined the common market it was easier to get coloured thread,
but I’m sure that that wasn’t the reason.  It’s always been possible to
get coloured Sylko sewing machine thread here, even if she didn’t approve of
using it, ie it wasn’t an “accredited lace thread”.  I think it was much
more to do with the start of the Lace Guild and the sharing of ideas.

The other change that happened in the late 70s was the availability of
bobbins.  During my first year of learning to make lace most of my bobbins had
come via the teacher, mostly whatever old ones she could get hold of or nasty
plastic ones with rough edges.  When I went back I asked if she had *any*
bobbins that I could buy and the reply was “yes, would you like some of
these? or these? or these?”.

My teacher was Vera Rigney, who had learned bobbin lace in the 1950s from a
Mrs Helen Hoppe ,who had in turn learned from her mother Mrs Helen Ainger.
Mrs Ainger  was the teacher for The Cobham Laceworkers Association” founded
in 1910 by the then Countess of Darnley, who’s family seat was Cobham.
Helen Ainger’s mother, Jane Dillow, had moved to Cobham in Kent from
Buckinghamshire where she had been part of the, by then, struggling cottage
lacemaking industry.


Brenda in Allhallows

paternos...@appleshack.com
www.brendapaternoster.co.uk

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[lace] Lace revival

[Alex Stillwell]

Hi Arachnids

The discussion about how lace spread is most interesting.  In England the
handcrafts followed during and immediately after WW2 were knitting and
dressmaking, only those that were useful. Also only products that were useful
were available, know as utility. I remember my parents getting a table and
chairs that were very plain. During the 1950s life was settling down,
increasingly there became time for leisure and my mother returned to crochet
and embroidery, a way of getting a little beauty into a world that had been
strictly utilitarian for so long. During the 1960s there was a flowering of
many crafts, possibly a reaction to the deprivations of war.

My introduction to lace was the little Dryad book by Lacemaking, Bucks point
ground by Channer pub. 1953 that I purchased in a department store in 1963. I
made a pillow, my father bought my first bobbins and pins in the Needlewoman
shop in London and made me a pricker, copying the one in the book shaping a
dark green plastic bell push and a brass dart. Regrettably it was stolen.

Best wishes to all

Alex

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[lace] Lace revival

[Kathleen Harris]

I started to make bobbin lace in 1970. Nena Lovesey started me off with a 
simple pillow, some Belgian bobbins, and excellent basic instruction! I loved 
it! When she thought I was able enough, she introduced me to the Swedish 
Knipplerscan books. There were two paperback books of patterns, starting with 
the simplest and gradually increasing the complexity. As I remember, there were 
few instructions, just the pattern and a picture of the finished lace. 

I had no more formal instruction from Nena, and I just worked these Torchon 
patterns for quite a while. Then I found the Maidment book, Mincoff and 
Marriage, Doreen Wright’s book and then Pam Nottingham’s. And the rest is 
history - for me at least - my favourite occupation.

Nena believed that the two wars had split families up, and moved them apart, so 
that grandparents were no longer able to pass on craft skills to grandchildren. 
So she instigated the opening of a craft centre, and collected as many crafts 
people as she could to pass on their skills to another generation. This 
included “male” crafts as well as “female” ones. I think she had a big 
influence on lace, in this area of the UK at least, where she taught and 
encouraged so many lace makers.

The 1970’s saw lace classes start, and therefore the production of pillows, 
bobbins, pins etc. when there was a market for them - and then of course lace 
days, the Lace Guild, the Lace Society, and the realisation that there was a 
large lacemaking community in the UK as well as in Europe.

Kathleen
In a wet and chilly Berkshire UK

Sent from my iPad

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[lace] Lace Revival

[Elizabeth Ligeti.]

My earliest books were the 1970s version of the Margaret Maidment book, Louisa
Tebbs book (by the same publisher), and the little Amy Dawson book. Then we
got the Pam Notting ham’s mixed laces book, and Pam Robinsons book, and so
on.

I found some classes here in an outer suburb of Melbourne in 1977, just after
a trip back to England where I bought the Miss Channers book, and a few
plastic bobbins, as I had decided to learn lacemaking while on the trip. I had
done one small 9 pin edge with my Grandmother when I was about 19 but had not
followed it up. Suddenly I decided to have another go  , and with my early
teenaged daughter who was also interested we got started – I went to class,
then came home and taught her!! (well, she had to go to school every day so
could not come to Lacemaking with me!) – and we are both still making
lace!!!

 Kant Magazines were available – but not in English. And the Australian Lace
Guild was just starting up – and is still going strong!!

Regards from Liz.

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[lace] Lace Revival of the 1970s

[Janice Blair]

I remember attending a Towns Womens Guild in November 1970 in Lichfield, Staffs 
where we had a talk on bobbin lace with a demonstration on a board using 
probably, skipping ropes with wooden handles for the thread and bobbins.  I was 
one of those who thought it looked too difficult and being heavily pregnant 
with our son, had no time for a new hobby, plus I was doing wood carving at the 
evening school at the time.  I think the idea stayed in my brain until I 
visited the UK in 1994 and saw a pillow kit in a craft shop.  So there must 
have been a local guild in the Lichfield area.
Janice
 
Janice Blair Murrieta, CA, 
jblace.com

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Re: [lace] Lace Revival of the 1970s

[Carolyn M Salafia]

My father may have (embraced the melting pot and he sure as heck wanted to be 
sure I never visited the “old country” as second and third cousins were going 
back to marry extended family members. Sicilian chain migration??) but his 
father never really spoke English into the early 1990s. My German grandmother 
was much more like your grandma although it was because she was expected to 
translate the outside world to the family b

Sent from my iPhone and if I'm driving please excuse Siri derived typos. 

> On Mar 26, 2018, at 6:24 PM, Kim Davis  wrote:
> 
> My observation is that before the 60s America fully embraced the melting
> pot model.  My own Grandmother, for example, was not allowed to learn
> Norwegian.  She was the first in her family  born in the US, but expected
> to only know English.  Preserving heritage from European countries was seen
> by many as a rejection of being American.  After the hippie movement, this
> attitude began to change.  I think there was some desperation to regain
> what was lost by many people.  I also agree with the other factors you are
> looking at.  None of these social shifts happened in isolation.
> 
> Kim
> 
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Re: [lace] Lace revival of the 1970s

[Cynce Williams]

Also in the 1950’s I was a Girl Scout Library aide and found *Bobbins of 
Belgium.* Don’t remember the author. The stories of post WWI Belgium were 
horrifying but they were trying to make lace an economic craft in the ’20’s.

Cynthia

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Re: [lace] Lace Revival of the 1970s

[Kim Davis]

My observation is that before the 60s America fully embraced the melting
pot model.  My own Grandmother, for example, was not allowed to learn
Norwegian.  She was the first in her family  born in the US, but expected
to only know English.  Preserving heritage from European countries was seen
by many as a rejection of being American.  After the hippie movement, this
attitude began to change.  I think there was some desperation to regain
what was lost by many people.  I also agree with the other factors you are
looking at.  None of these social shifts happened in isolation.

Kim

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

[Lorelei Halley]

Lyn
I did talk with Doris Southard many years ago and she told me that she first 
heard of bobbin lace from an article in a women's magazine. (I don't remember 
which one -- one of the grocery store kind.) She had been a weaver and did many 
other textile crafts, but she was essentially "self-taught".  I also learned 
from her book. And earlier, from her correspondence lessons.
Lorelei

Subject: Fw: RE: [lace] Lace Revival of the 1970s
>From: lynrbai...@supernet.com
>Then there's Doris Southard in Iowa, whose book was published in the '70's. 
>Don't know how or why she learned lace, but maybe it's in her book. It's the 
>one I used to actually learn.  The only such book in any library I looked in, 
>and I am a library person. 

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[lace] Lace revival of the 1970s

[Karen]

Very interesting stories in this topic. This is my own version. While in high 
school in Denmark, I saw my mother making bobbin lace. I think she learned it 
as a young girl in the 1910s. In the 1960s adult education classes were offered 
in communities in Denmark, and she finally had a little spare time. In 1974, 
after I had settled in Indiana in the US, I realized I had not seen anybody 
make bobbin lace here. So when my parents visited us I asked her to show me. 
She sent me Sina Kielberg’s book and soon after I found Doris Southard’s book. 
Working on my own from these books, I made very slow progress, especially 
because one was cross twist and the other twist cross. Very confusing for a 
total beginner. In the late 1970s a few friends and our children asked me to 
teach them, so barely one step ahead of them we made progress. We started the 
Lafayette Lacers. Guess this fits in with learning in Europe or from European 
teacher. 

-Karen

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Re: [lace] Lace Revival of the 1970s - Bath's book and Golden Hands

[Jeri Ames]

The Virginia Bath LACE book and also Golden Hands have been mentioned today.
 Not long ago, I reviewed both on Arachne.  The reviews are easier to read
on the New England Lace Group's home page at www.nelg.us
 
Select Book Reviews from the menu on the Left.
 
When there are no new books I wish to review, the past offers possibilities.
 It is magical that though I did not anticipate Devon's new topic on Arachne,
there are recent book reviews available.
 
Jeri Ames in Maine USA
Lace and Embroidery Resource Center
 
In a message dated 3/26/2018 2:36:56 PM Eastern Standard Time,
cyncewilli...@sbcglobal.net writes:

 
 And there was Virginia Churchill Bath�s book *Lace*. She was from the
Chicago
Art Institute.  C

On Mar 26, 2018, at 12:36 PM, DevonThein  wrote:

> Adele makes the interesting point that it was not until the 1970s that it
> began to be possible to buy books published by mainstream publishers about
how to make bobbin lace.

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RE: [lace] Lace Revival of the 1970s - mystery book probably...

[DevonThein]

Yes! You are correct. It was Knyppling. I couldn’t remember what it was,
even though I picked up a copy at an estate sale fairly recently.
Devon

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RE: [lace] Lace Revival of the 1970s

[DevonThein]

Jo raises some interesting insights.
One thing she mentions is the crafts to leisure aspect. Originally there
seemed to be an ethos that one was practicing a “useful craft”. For
instance, you made a quilt because you needed a bed covering, or a doily
because every well kept house required doilies. At a certain point, I think
that the concept that you were doing this as a “chore” gave way to the
idea that it was a leisure activity that was fun, and might even be a mode of
artistic expression. Mass production really took the steam out of any argument
that you were doing this sort of thing because it was a housekeeping
requirement. I still recall that there was a time when people made their own
clothes to save money. But, when I touched base with a friend who taught
sewing about ten years ago she confirmed that it was impossible to make a
garment for as little money as you could buy one, and that most of her sewing
clients made their own clothes because they had unusual requirements, often
religious in nature.
Jo mentions that women typically left their jobs to have families in the 1950s
and by the 1970s they had empty nests. When I first went to lace meetings in
the 1970s, they occurred on weekdays,  running from 10 in the morning until
about 2:30 in the afternoon, because that is when the kids came home. Later,
in the 1980s and 90s with more women in the work place, this schedule began to
be problematical. But attempts to have lace meetings on the weekends and
weekday evenings didn’t work too well either because women simply had less
leisure time.
Devon

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Re: [lace] Lace Revival of the 1970s - mystery book probably...

[Jeri Ames]

Dear Devon,
 
Perhaps the book to which you refer was Knyppling, 1964, published (in
Swedish) by LTs Forlag in collaboration with the Swedish Lace-Making
Association.  Author was Sally Johanson.
 
It was re-published with the title of Traditional Lace Making in 1974 in the
U.S. in English by Van Nostrand Reinhold; translators were E. and T.W.
Summers.  ISBN: 0-442-30037-9.
 
Sally Johanson was one of the founders of OIDFA, and one of its first
Presidents.
 
Jeri Ames in Maine USA
Lace and Embroidery Resource Center
 
In a message dated 3/26/2018 1:36:24 PM Eastern Standard Time,
devonth...@gmail.com writes:

when I took bobbin lace in the 1970s I asked my
teacher if there was a book I could use and the only one she could offer was
in a Scandinavian language. Although she felt it was better than nothing
because of the photos, I was not really smart enough to be able to take
advantage of it.   Devon

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Re: [lace] Lace Revival of the 1970s

[Maureen]

My belief is that as it was featured in Golden Hands which I think was 
published in UK in 1969 and the older Lacemakers were asked to do  more 
teaching. The WI used to have craft classes I think. Boredom with commercially 
made items and a desire to learn, plus a little more money for hobbies?  Or 
people had progressed from knitting to crochet and wanted to try something 
else?  Not sure when you got it in USA but sure Jeri can answer.

Maureen

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Re: [lace] Lace Revival of the 1970s

[Martha Benedicta Krieg]

Also, Spring Fling happened annually for many years, then every other year
for many more. Last year was the kast full-fledged version, however.

On Mon, Mar 26, 2018 at 2:52 PM H M Clarke  wrote:

> Speaking from my family’s perspective, my grandmother learnt as a child
in
> the 1910s. This was at some local girls’ club in Suffolk. Then she
married
> and had a family (obviously!) and lace was put away. When she was sadly
> widowed in the early 1960s she went back to making lace. She showed my
> sisters the rudiments of making lace in the 1970s (I was considered too
> young - or too difficult?) which she had never done with her daughters.
>
> I’m wondering whether others of her generation were similarly finding
time
> in retirement to return to lace in the 1960s and 70s thereby kickstarting
> another revival?
>
> Helen who originally lived in lacemaking areas in England before learning
> to make it in Canada!
>
> > On Mar 26, 2018, at 07:59, DevonThein  wrote:
> >
> > I am attempting to write a catalog for the Lace, not Lace: Contemporary
> Fiber
> > Art from Lacemaking Techniques.
> > The exhibit will include the work of Ros Hills, Lieve Jerger, and Jill
> > Nordfors Clark who I consider to have begun their activity during the
> lace
> > revival of the 1970s. If I were to try to establish a context for what
> was
> > happening in lace at that time, what are the most important things that I
> > would touch on?
> >
>
> -
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>
--
Martha Krieg Michigan   benedict...@gmail.com

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Re: [lace] Lace Revival of the 1970s

[Adele Shaak]

Maybe a chicken-and-egg thing? The books inspire the students who provide the
market for more books … but what triggered the interest in the 70s in the
first place - I’d bet on a backlash from the super-modern 60s. There’s
only so much bright yellow and lime green Fortrel a body can take. I remember
mini-dresses giving way to midi-dresses and long romantic dresses fostered by
TV shows like Poldark and that Trollope thing that went on and on that I’ve
forgotten the name of. In the US, “Little House on the Praire” as I think
somebody has already mentioned. The back-to-the-land movement, the energy
crisis. Long romantic flowing dresses, full sleeves and cuffs that were just
the place for a bit of lace.

And then the publishers start looking around for other books on the same
topic, and to re-print old books that have lost their copyright, and so on. By
the way, I took a quick look at Margaret Maidment’s book on ABE Books - it
was originally published in 1931 by Pitman & Sons, then in the 50s in the USA
by Charles Branford, and then starting in the 70s by a host of different
companies (Paul Minet, Batsford, plus others) and today it’s available
through a large number of POD houses. It looks like it might have been out of
copyright by the 70s, though that seems a little early.

Adele



> On Mar 26, 2018, at 11:05 AM, DevonThein  wrote:
>
> << Shortly after  I started in England in  1971 I bought a copy of Maidment
> Bobbin Lace Work printed in 1971. >>
>
> So interesting to see this cluster of books being published and republished
in
> the 1970s. But why?

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Re: [lace] Lace Revival of the 1970s

[H M Clarke]

Speaking from my family’s perspective, my grandmother learnt as a child in the 
1910s. This was at some local girls’ club in Suffolk. Then she married and had 
a family (obviously!) and lace was put away. When she was sadly widowed in the 
early 1960s she went back to making lace. She showed my sisters the rudiments 
of making lace in the 1970s (I was considered too young - or too difficult?) 
which she had never done with her daughters. 

I’m wondering whether others of her generation were similarly finding time in 
retirement to return to lace in the 1960s and 70s thereby kickstarting another 
revival?

Helen who originally lived in lacemaking areas in England before learning to 
make it in Canada!

> On Mar 26, 2018, at 07:59, DevonThein  wrote:
> 
> I am attempting to write a catalog for the Lace, not Lace: Contemporary Fiber
> Art from Lacemaking Techniques.
> The exhibit will include the work of Ros Hills, Lieve Jerger, and Jill
> Nordfors Clark who I consider to have begun their activity during the lace
> revival of the 1970s. If I were to try to establish a context for what was
> happening in lace at that time, what are the most important things that I
> would touch on?
> 

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Re: [lace] Lace Revival of the 1970s

[Martha Benedicta Krieg]

You will find Mary McPeek who was influential together with Trenna Ruffner
in getting Les Dentelles aux Fuseaux published with her English
translation. GLLGI recently published a compilation of Mary McPeek’s lesson
plans and prickings together with photographs of the pieces worked.  Mary
taught for many years and her students and grandstudents carry on.
Www.gllgi.org

On Mon, Mar 26, 2018 at 2:46 PM Cynce Williams 
wrote:

> There were four ladies whose patterns were published but I can’t remember
> them all. IIRC Mary McPeak was one and so was Trenna Rufner. Lovely ladies
> and lovely lace. The Great Lakes Lace group had a seminar and several
> European teachers came over. Exciting times.
>
> C
>
> On Mar 26, 2018, at 1:26 PM, DevonThein  wrote:
>
> > Yes! Thanks. I just looked it up. 1987. I think Trenna Rufner was also
> > involved in the lace postage stamps.
> > Devon
> >
> > -
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>
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>
--
Martha Krieg Michigan   benedict...@gmail.com

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Re: [lace] Lace Revival of the 1970s

[Cynce Williams]

There were four ladies whose patterns were published but I can’t remember them 
all. IIRC Mary McPeak was one and so was Trenna Rufner. Lovely ladies and 
lovely lace. The Great Lakes Lace group had a seminar and several European 
teachers came over. Exciting times.

C

On Mar 26, 2018, at 1:26 PM, DevonThein  wrote:

> Yes! Thanks. I just looked it up. 1987. I think Trenna Rufner was also
> involved in the lace postage stamps.
> Devon
> 
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Re: [lace] Lace Revival of the 1970s

[Cynce Williams]

I don’t know for sure, but she had lots of Tonder lace in her book. I think
she also had a pattern by Mary McPeak.

C

On Mar 26, 2018, at 12:37 PM, DevonThein  wrote:

> Where did Doris Southard learn to make lace, or how?

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Re: [lace] Lace Revival of the 1970s

[Cynce Williams]

And there was Virginia Churchill Bath’s book *Lace*. She was from the Chicago
Art Institute.

C

On Mar 26, 2018, at 12:36 PM, DevonThein  wrote:

> Adele makes the interesting point that it wasn’t until the 1970s that it
> began to be possible to buy books published by mainstream publishers about
how
> to make bobbin lace.

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RE: [lace] Lace Revival of the 1970s

[DevonThein]

Thanks for mentioning the Torchon Lace Company and the Princess lace pillow.
I would relate this to the early 20th century lacemaking ideas which included
trying to make lace for money, rather than leisure. Examples include the Sybil
Carter missions and Italian Lace School (cut work). But, surely there must
have been people left over from these attempts who were still around in the
1970s. These movements have parallels in Europe such as the Industrie
Feminilli.
Devon

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RE: [lace] Lace Revival of the 1970s

[DevonThein]

Yes! Thanks. I just looked it up. 1987. I think Trenna Rufner was also
involved in the lace postage stamps.
Devon

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Re: [lace] Lace Revival of the 1970s

[Cynce Williams]

St Louis had the Torchon Lace company. They sold bobbins, the Princess lace
pillow and booklets of patterns. We found them in 1904 sources but couldn’t
find any other information about them. The Princess pillow was in the Missouri
Historical Society collection.

Cynthia

On Mar 26, 2018, at 12:13 PM, DevonThein  wrote:

> One correspondent believes that post war immigration of Europeans to the US
> was a factor in the development of lacemaking here.

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Re: [lace] Lace Revival of the 1970s

[Cynce Williams]

I learned in 1981. Missed a class and learned several grounds from the DMC
book. Also found bobbin lace in the Readers Digest  handwork book. Crown and
Triangle from Doris Southard’s book was originally from Family Circle (or was
it Woman’s Day?) One of those grocery store magazines.

Cynthia


On Mar 26, 2018, at 11:42 AM, Maureen  wrote:

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Re: [lace] Lace Revival of the 1970s

[Anita Hansen]

I consulted my notes which consist of a few writeups of Doris over the years. 
She actually wrote on a 2005 Arachne thread “How I Started lacemaking”
https://www.mail-archive.com/lace@arachne.com/msg14763.html
She was an avid weaver and knitter when she first discovered bobbin lace in 
1950’s Woman’s Day magazine article. After teaching herself, she then 
demonstrated and  taught lace classes locally before eventually being asked to 
do articles and finally a book.
I have a few articles on her from past IOLI Bulletins (including Sept 1970, Jan 
1978, Spring 2009, summer 2006, and spring 2012) if you would like me to scan 
and send you a pdf.
Anita

On Mar 26, 2018, at 12:37 PM, DevonThein 
> wrote:

Where did Doris Southard learn to make lace, or how?
Devon

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[lace] Lace Revival of the 1970s

[DevonThein]

Lyn made a comment, that perhaps only I got, that she thought that the Back to
Earth movement had a lot to do with it. She discounts the Bi-Centennial.
However, there was a huge call for crafters during the Bi-Centennial. I
participated in the making of a quilt to commemorate Rockland Country (New
York History) and demonstrated at the re-enactment of the Battle of Stony
Point.
However the Back to Earth movement was very present as well. I still have
Alicia Bay Laural’s book Living on Earth, and Native American Funk and
Flash. Not that long ago I saw both of these tomes at an exhibit at the Museum
of Arts and Design, along with examples from a contest (that I remembered)
that was sponsored by Levi Strauss and that involved embroidering blue jeans.
The quality of the embroidery was spectacular, and so vibrant. In fact, there
was a garment by Jill Nordfors Clark in this exhibit, actually connecting one
of our American needle lace artists with this movement. I was in heaven. It
was quite amazing to see someone collect these artifacts, many still in my
“lace room” as part of an historical phenomenon. (Feeling old.) In fact, I
embroidered my own denim shirt with animals and war medals when I was a
teenager, sort of like Native American Funk and Flash, and my daughter has
claimed it.
Devon


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Re: [lace] Lace Revival of the 1970s

[Cynce Williams]

There was also the US bobbin lace stamp (well 4 stamps) organized by Mary
McPeak.

Bu I can’t remember what year—1980’s sometime.

Cynthia

On Mar 26, 2018, at 9:59 AM, DevonThein  wrote:

>
> I began to make lace in 1971, but I was not a very objective observer of
what
> was going on and how it fit into any kind of historical context.
> What do people think accounted for and contributed to the surge of interest
in
> lace in 1970s? What should be included?

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Re: [lace] Lace Revival of the 1970s

[Elena Kanagy-Loux]

Just chiming in to say this is all very interesting and I look forward to 
reading this all more carefully later!
Best,
Elena 

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RE: [lace] Lace Revival of the 1970s

[DevonThein]

<< Shortly after  I started in England in  1971 I bought a copy of Maidment
Bobbin Lace Work printed in 1971. >>

So interesting to see this cluster of books being published and republished in
the 1970s. But why?

Devon

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RE: [lace] Lace Revival of the 1970s

[jo]

I too started in the 1970's as a teenager. Saw a demo on a local nostalgic
summer fair. Being crafty I wanted too try. Found a few books in the local
library, the local craft store happened to have bobbins in stock, improvised
a pillow and got hooked. 

Those days some crafty Dutch magazines published courses or patterns but I
did not have a subscription. In 1978s the LOKK was founded. Mainly by woman
from an era that expelled them from the working class as soon as they
married and then got an empty nest in the 1970's. What also might be of
influence was household chores becoming less elaborate with for example
washing machines resulting in more leisure time.
1914 http://www.kantklosschoolwijdenes.nl/ 
1954 https://internationalorganizationoflace.org/About/aboutus.html 
1982 https://www.oidfa.com/org.html.en 
1983 http://www.deutscher-kloeppelverband.de/index.php/wir-ueber-uns 
 http://www.bkoobd.be
 http://www.laceguild.org 

Comparing these dates, the 1970 seems to mark a transition from "nuttige
handwerken" (1) to crafts and leisure.
(1): an old fashioned Dutch expression for knitting/darning socks and
similar skills. At my primary school the girls still were taught these
"nuttige handwerken" while the boys...

Jo

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[lace] Lace Revival of the 1970s

[lynrbailey]

One other factor in the 1970's is that airfare to Europe was getting cheaper.  
In 1960 when my parents and I took a ship ten days each way, to Europe, that 
trip cost as much as airfare to the same destination.  In 1974, my husband and 
I took a month trip to Europe and did an illegal charter flight to Europe, 
which was much cheaper.  I would imagine that more Americans were traveling to 
Europe, and being exposed to lace. 

It is interesting to note how one individual could inspire lacemaking in her 
geographic area.  That should still be a lesson to us.  Lyn from Lancaster, 
Pennsylvania. 


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Re: [lace] Lace Revival of the 1970s

[Maureen]

Shortly after  I started in England in  1971 I bought a copy of Maidment Bobbin 
Lace Work printed in 1971. 

Maureen
E Yorks UK

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RE: [lace] Lace Revival of the 1970s

[DevonThein]

Where did Doris Southard learn to make lace, or how?
Devon

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RE: [lace] Lace Revival of the 1970s

[DevonThein]

Adele makes the interesting point that it wasn’t until the 1970s that it
began to be possible to buy books published by mainstream publishers about how
to make bobbin lace.
She observes that her lace club actually started in 1955 but had huge
impediments due to the lack of  instruction and books. The IOLI also dates
from the 1950s. However, when I took bobbin lace in the 1970s I asked my
teacher if there was a book I could use and the only one she could offer was
in a Scandinavian language. Although she felt it was better than nothing
because of the photos, I was not really smart enough to be able to take
advantage of it.
Then Kaethe Kliot published her book in 1973 which was a very mind expanding
book providing a lot of inspiration, although, again on my part, I really
couldn’t learn from it. But the photos of her making a lace pillow,  and her
contemporary lace showed what was possible. Also, I enjoyed the photos from
the early twentieth century with lots of bobbins and more traditional
patterns.
Another source material for me was the Anchor Manual given to me by the mother
of a friend, my copy dating from 1970. Alas this was another book that I
tried, but failed to learn from. Nothing really worked for me except the
individual instruction that came with materials, tools  and patterns.
Obtaining the materials and tools was a major factor then. Fortunately
Gunvor’s mother ran a lace supply business in Tonder, so we never wanted for
these. I don’t think I could ever have taught myself from a book. It was
hard enough learning without having to overcome the obstacles involved in
getting bobbins.
Devon


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[lace] Lace Revival of the 1970s

[Anita Hansen]

Devon,
Doris Southard, an Iowa farm wife, was teaching bobbin lace in the 1970’s. Her 
book “Bobbin Lacemaking” has a 1977 copyright.
Anita Hansen
Cedar Rapids, Iowa

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Re: [lace] Lace Revival of the 1970s

[Maureen]

Sorry, I forgot to crop.

Maureen

> 

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Re: [lace] Lace Revival of the 1970s

[Maureen]

And I should, of course, mention needlelace as Nenia Lovesey wrote her first 
book in the late 1970s, she signed my copy at a lace day in Essex in 1982.  
Although I didn't try needlelace until after then.

Maureen
e Yorks UK.


> On 26 Mar 2018, at 17:42, Maureen  wrote:
> 
> I too started lacemaking in The early 70s but I had seen it in Golden Hands 
> and found a local handicraft group that were putting a class on.  Well I was 
> going for embroidery classes at the time, but moved over to the lace class, 
> supposedly for one term but which continued for a lot longer, to learn lace. 
> Then the County Adult Education classes, I think, started in the mid 70s but 
> also Doreen Wright wrote a book  on lacemaking and the Lace guild was started 
> in 1976.  Suppliers then found that people wanted bobbins, I bought my first 
> ones from Doreen Fudge who was at Luton Museum, and then lace days started 
> which I believe encouraged more Lacemakers, which encouraged more classes.  I 
> was also a member of IOLI about 1974 and only didn't rejoin when the Lace 
> Guild started.  I started to teach lacemaking when the local teacher had a 
> waiting list but didn't have enough hours or days in The week to start 
> another class, but that was about 1980 I think.   And it was very much a cas!
 e !
> of being one step ahead of the students at the time because there were gaps 
> in the beginning laces I had somehow skipped!
> 
> Incidentally I learnt to knit whilst in primary school, was taught 
> dressmaking at school and by my mother in law,  and taught myself to crochet 
> in 1970 as I wanted to crochet myself a dress.  Suffice to say it was started 
> at the top and very short!
> 
> Maureen Bromley
> E Yorks UK
> 
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[lace] Lace Revival of the 1970s

[DevonThein]

People are contacting me privately with observations which are very
interesting.
One correspondent believes that post war immigration of Europeans to the US
was a factor in the development of lacemaking here.
This is an interesting observation because there were a number of people who
were major figures in the 1970s who had learned lace in Europe. My teacher,
Gunvor Jorgensen, learned lace in Tonder, Denmark. It took me a while to
realize that she had not learned this as some kind of a folk progression
leading directly from the 17th century, but rather as part of a late 19th,
early 20th century government initiative to re-introduce this important
heritage craft to Tonder.
Kathe Kliot was a German refugee who was very instrumental in the California
lace movement. Radmila Zuman was from Czecholoslovakia. In addition to the
immigrants, Americans were learning the craft in Europe possibly during
military or other job postings. In fact, it would have been rather hard to
learn the craft in the US from someone who had learned it in the US in the
1970s, although it would not be the case now.
Devon

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Fw: RE: [lace] Lace Revival of the 1970s

[lynrbailey]

>From: lynrbai...@supernet.com
>Sent: Mar 26, 2018 9:51 AM
>To: Devon Thein <dmt11h...@aol.com>
>Subject: RE: [lace] Lace Revival of the 1970s
>
>Dear Devon, read your email the first time I woke up at 6.  Now 9:20 and my 
>coffee is brewing.  Decadent hours.  I was thinking about lacemaking in the 
>US, and possibilities as to why it became 'popular' in the '70's.  I think one 
>reason is the refugees after WWII brought it with them.  And don't forget 
>Susan Wenzel took lace classes while her husband was stationed in England.  I 
>don't know about California, where lace is amazingly popular, but I bet there 
>was some kind of impetus.  I know that a lady named Betty, last name unknown, 
>a lacemaking British transplant to Atlant, GA was a driving force in that 
>area.  Then there's Doris Southard in Iowa, whose book was published in the 
>'70's. Don't know how or why she learned lace, but maybe it's in her book. 
>It's the one I used to actually learn.  The only such book in any library I 
>looked in, and I am a library person. I don't think the Bicentennial had much 
>to do with it.  But I do think the back-to-the-earth movement would ha!
 ve a big part.  Anyhow, that's my two cents.  lrb
>
>"My email sends out an automatic  message. Arachne members,
>please ignore it. I read your emails."

Lyn from Lancaster, Pennsylvania, USA, presently in the Phoenix, Arizona 
valley, where the weather is boring.  Sunny, warm, dry, light breeze, shorts 
and sandals weather every day.

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Re: [lace] Lace Revival of the 1970s

[Adele Shaak]

Hi Devon:

The lace club I belong to (Vancouver Lace Club) started in 1955 but it was
slow going at first because the ladies could only get instruction from a
lacemaker who lived up the coast  and only visited Vancouver once a year, to
demonstrate lace at the Pacific National Exhibition. She would bring patterns
with her and show the ladies how to make them. Books on lacemaking were rare.
Finding a new book on lacemaking - any book at all - was a cause for
celebration. Threads and bobbins were ordered from Theo Brejaart in Rotterdam
- in this era before credit cards you had to be really determined to learn and
to get your supplies.

Books:

Doreen Wright: 1971 “Bobbin Lace Making"
Pam Nottingham: 1976  “Technique of Bobbin Lace"
Doris Southard: 1977 “Bobbin Lace Making
Elsie Luxton: 1979 “The Technique of Honiton Lace"

They were published by big publishers whose books your local bookstore could
order. Once you’re into lacemaking, you find all the other avenues but only
these larger publishers got their books into the libraries where the general
public could find them - it was the picture on the cover of “Technique of
Bobbin Lace” that drew me to lacemaking in 1982.  I had never heard of it
before, and never seen any handmade lace. Earlier books that showed lacemaking
techniques were very basic (Th. de Dillmont) and were also difficult for
people, like many North Americans, who needed to get all their knowledge and
instruction from the book. In the early books the author tended to think that
the student had seen bobbin lace before and just needed a bit more
information.

Hope somewhere in all this is a nugget you can use.

Adele Shaak


> Sue, your observation about taking a class in an adult school in England is
> interesting. I think there was more of that in Great Britain than in the US
at
> the time. But, Holly van Sciver took an adult school class in England while
> there for a college semester abroad. Eventually she was a large spur to the
US
> movement by sharing her skills through teaching, bobbin making, and
vending,
> so arguably the adult schools of England were instrumental in the
development
> of the lace movement in the US.
> Devon

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Re: [lace] Lace Revival of the 1970s

[Maureen]

I too started lacemaking in The early 70s but I had seen it in Golden Hands and 
found a local handicraft group that were putting a class on.  Well I was going 
for embroidery classes at the time, but moved over to the lace class, 
supposedly for one term but which continued for a lot longer, to learn lace. 
Then the County Adult Education classes, I think, started in the mid 70s but 
also Doreen Wright wrote a book  on lacemaking and the Lace guild was started 
in 1976.  Suppliers then found that people wanted bobbins, I bought my first 
ones from Doreen Fudge who was at Luton Museum, and then lace days started 
which I believe encouraged more Lacemakers, which encouraged more classes.  I 
was also a member of IOLI about 1974 and only didn't rejoin when the Lace Guild 
started.  I started to teach lacemaking when the local teacher had a waiting 
list but didn't have enough hours or days in The week to start another class, 
but that was about 1980 I think.   And it was very much a case !
 of being one step ahead of the students at the time because there were gaps in 
the beginning laces I had somehow skipped!

Incidentally I learnt to knit whilst in primary school, was taught dressmaking 
at school and by my mother in law,  and taught myself to crochet in 1970 as I 
wanted to crochet myself a dress.  Suffice to say it was started at the top and 
very short!

Maureen Bromley
E Yorks UK

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[lace] Lace Revival of the 1970s

[DevonThein]

Sue, your observation about taking a class in an adult school in England is
interesting. I think there was more of that in Great Britain than in the US at
the time. But, Holly van Sciver took an adult school class in England while
there for a college semester abroad. Eventually she was a large spur to the US
movement by sharing her skills through teaching, bobbin making, and vending,
so arguably the adult schools of England were instrumental in the development
of the lace movement in the US.
Devon


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RE: [lace] Lace Revival of the 1970s

[Devon Thein]

Sue, your observation about taking a class in an adult school in England is
interesting. I think there was more of that in Great Britain than in the US at
the time. But, Holly van Sciver took an adult school class in England while
there for a college semester abroad. Eventually she was a large spur to the US
movement by sharing her skills through teaching, bobbin making, and vending,
so arguably the adult schools of England were instrumental in the development
of the lace movement in the US.
Devon

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Re: [lace] Lace Revival of the 1970s

[Sue Harvey]

I too started making lace in the 70s my interest was sparked purely by the 
chance sighting of lace making classes starting at our local night school and 
at the fact that I liked anything " crafty" after the first lesson I was well 
and truly "hooked" 
Sue M Harvey
Norfolk UK 

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[lace] Lace Revival of the 1970s

[DevonThein]

I am attempting to write a catalog for the Lace, not Lace: Contemporary Fiber
Art from Lacemaking Techniques.
The exhibit will include the work of Ros Hills, Lieve Jerger, and Jill
Nordfors Clark who I consider to have begun their activity during the lace
revival of the 1970s. If I were to try to establish a context for what was
happening in lace at that time, what are the most important things that I
would touch on?
Off the top of my head:
Last remnants of the lace collecting boom of the 1920s and the early 20th
century lace craft industry revivals.
Kathe Kliot and Lacis
Robin Lewis Wild and the large Tennessee Valley piece
The Bi-Centennial in the US, and its interest in Colonial Crafts
A generalized craft revival due to a variety of social and economic aspects,
such as a rejection of consumerism, the hippie movement, embroidered jeans,
macramé, string art.
The lace show at the Cooper-Hewitt, which was actually in the early 1980s.

I began to make lace in 1971, but I was not a very objective observer of what
was going on and how it fit into any kind of historical context.
What do people think accounted for and contributed to the surge of interest in
lace in 1970s? What should be included?

Devon


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