E s t o n ia 62 - Regione Abruzzo

ROMANTIC HISTORY OF LACE
From a legend: Once upon a time there was a beautiful but poor girl who loved and was loved by
a poor young artist. One day the girl‘s mother became so ill that, in order to obtain healing, having
no other means, the girl gave her word to the Holy Mother to give up her love for the young artist.
Sitting in the shade of a large tree, informing him about the promise, on her apron fell a fine,
complex and delicate spider’s web. The two lovers remained spellbound and she immediately
thought of trying to reproduce it with a fine thread. The young boy covered it with some branches
of the tree and spanned the apron between four sticks in order to take home the precious design
of the web. So while the girl copied the design with her thread, the boy helped her to keep the
threads in order, to stop them curling up and tangling, by tying a wooden stick to the end of
each thread. Thus from love and art was born the first bobbin lace. The work was appreciated by
the ladies of the city who handsomely rewarded the young maker of the wonderful web. With
the mother’s return to well-being and health came the moment for the girl to leave her lover.
Once again, however, the miracle was repeated. From the same tree under which the two lovers
were crying about their separation, fell another web on which it was written the release from the
promise.
As coordinator of the Project Lace4fashion I want to imagine that starting from such a legend it
is impossible not to have only fine, complex and delicate works realised by the hands of fantastic
lace makers around Europe. The project Lace4fashion is based on the results of a networking
experience between partners with the aim of affording new challenges to improve the
importance, attractiveness and value of innovative lacemaking.
As little spiders, institutions from 5 European countries, will use common non-formal learning tools
as a web to enhance skills and competence to enable peer-learning activities of lacemakers.
Lacemaking, that in the past has given to women an opportunity to enter the labour market and
support their families economically, is for the present and the future a stepping stone for new and
creative opportunities to improve their cultural heritage.
Lacemaking spread all over Europe using different techniques and styles and can be considered as
way to promote local spatial economy, to re-discover, analyse and spread the common historical
2
and cultural roots of European countries. Experience of previous networking has shown that
enhanced cooperation can strengthen and increase the quality and attractiveness of bobbin lace.
The specific experience of each member of the partnership will be the platform to reinforce the
links between vocational education and the labour market but above all reinforce the assent to
a mutual European cooperation.
To conclude, I would like to add some quotes from known persons to give an idea of the
importance of lace at the historical and cultural level.
“The real good of a piece of lace, then, you will find, is that it should show, first, that the designer
of it had a pretty fancy; next, that the maker of it had fine fingers; lastly, that the wearer of it has
worthiness or dignity enough to obtain what is difficult to obtain, and common sense enough not
to wear it on all occasions”. John Ruskin (Writer London 1819–1900)
“I consider lace to be one of the prettiest imitations ever made of the fantasy of nature; lace always
evokes for me those incomparable designs which the branches and leaves of trees embroider
across the sky, and I do not think that any invention of the human spirit could have a more
graceful or precise origin” Coco Chanel, April 29th1939
“There are no mistakes in lace, just misdirected threads that present a new challenge” Barbara
Bulgarelli, Arachne.
Bobbin Lace…What else?
Thanks to all participants for their wonderful contribution to the project implementation.
Rita Di Matteo
3
I taly
Region Abruzzo, with its political and administrative
government, has competence in practically all fields
and through its Departments for civil services, youth
policy, cultural heritage, social policies, public
health, handicraft, trade, immigration, tourism,
natural risks, environmental protection, energy, etc.,
is in a position to be in contact with local authorities
and institutions to develop territorial planning and to guide politics.
The territory of the Region Abruzzo, stretching between the Apennine chain and the
Adriatic Sea, has natural, cultural, historical and artistic attractions, offering visitors
experiences that they cannot have in the cities.
The data published on living in the Abruzzo mountains shows for the little mountain
centre a marginalised situation, estimated on the basis of objective parameters such as
demography, productivity, standard of living and availability of services. On this basis
can be considered the willingness of politics to focus attention on the regions, especially
those known for their artistic handicrafts. The high level of handicraft specifically
developed in the inner parts of Region Abruzzo, represents an enormous source of
wealth of a territory at risk of depopulation. The active participation of women to avoid
loss of cultural heritage and labour market can revitalise and make more attractive
a territory already rich in natural, architectural, cultural patrimony and typical high quality
products. The opportunity to share good practices with lacemakers of other countries
can give to the women of the area the possibility of increasing their knowledge and
at the same time of giving their families economical support and family care without
leaving their houses. Lace has not only represented one of the sources of economical
independence for women in the past, but even in the present, with the application of
innovative techniques, it can give them the opportunity to improve their income.
The role of Region Abruzzo as coordinator, with its experience in project
management, will provide an opportunity of sharing work with other organisations
to establish a platform of skilled persons. This will improve their awareness of how
4
tradition can be transformed into innovative, creative and equal opportunities for women and
men working together.
Importance of lace in the region.
Three important centres can represent Region Abruzzo in Europe: L’Aquila, Pescocostanzo and
Scanno. Below are some brief notes on the different techniques.
L’Aquila
To understand the characteristics of ancient L’Aquila lace, it is necessary to set its evolution
in the historical context of the town through the centuries since its foundation. The town
was built during the second half of the XIII century (from 1240 to 1290) by an industrious
middle class and a rich aristocracy. Because of its famous products (especially wool) and its
geographical position (on the border between the Kingdom of Naples and the Papal States)
it became within a few years very important for political and economical reasons. Thus
L’Aquila used to sell its lace in Venice where German people and other merchants came to
buy Italian products. It is clear then that there were close contacts with all the main centres
in Europe that were also the main centres for the production of lace. At the end of the XVI
century the town was conquered by the Spaniards who tried to dominate the population
and extract heavy tributes. Margherita d’Austria asked her brother for the governorship
of L’Aquila to improve the lifestyle of the court in terms of culture, art and trade. She gave
almost immediately a new impulse to the activities of the citizens and introduced the
town to European markets. This could be the reason why the lace in L’Aquila evolved in the
direction of that of Flanders. The production of trimmings in the town was probably the
favourable base for the evolution of lace. In addition, the good reputation of the lace was
a result of the high quality of the thread used, a particularly white, thin but strong thread,
and of the elegant designs produced with a sophisticated technique. Lace was worked
mainly to decorate ecclesiastical vestments by the numerous nuns who cultivated flax in
the gardens of the convents and then produced the special fine linen thread. Already in
the XVI century the designs were very elaborate and fine: elongated tallies (fogliette) were
used to form flowers and wheatears inside round areas delimited by a narrow tape, or to
form a ground. In the following centuries the techniques and designs evolved into the
northern European (Flanders, England,…) style, into what is called “punto antico aquilano”.
5
The elaborate designs, the variety of stitches used and the thinness of the thread made the
work very rich and elegant. It is impossible to state the exact beginning of this evolution
but we can find some answers in the above short historical note.
Pescocostanzo.
The first documents about lace in Pescocostanzo are from a XVII century description of a dowry.
The designs are formed by tapes which fill the space with symmetrical patterns so that a ground
is not necessary. The result is dense, without specific transparency. Besides this, another kind of
pattern is worked with a kind of rosette very like that found in Genoese lace. This is due to the fact
that in the XVII century many workers from Lombardy were called to Pescocostanzo to restore and
build houses and churches. They moved with their families and their marked influence in the town
is documented by the architecture, the building techniques and even in the persistence there of
the Ambrosian rite.
It is clear that these families became integrated into the local population, so it is easy to imagine
that women exchanged their knowledge and abilities, in particular in the production of lace. The
contemporary presence of Milanese and Genoan styles should not surprise us since in northern
Italy these styles of lace developed simultaneously and only in the original towns did the workers
defend their own technique.
Scanno
The most plausible hypothesis for why bobbin lacemaking came to an isolated and mountainous
village such as Scanno is linked to the arrival of Lombardy’s master builders and masons in 1700 for
the reconstruction of palace portals. Their wives could have taught the technique to the women of
such places. Other influences on lacemaking were the Maritime Republics of Venice and Genoa, and
date back to 1600 when the nearby town of Castel di Sangro was the market place in which goods
were exchanged. The sailors, who reached the coast through the interior, traded their products,
among which are mentioned lace together with typical products of Scanno: wool and cheese. The
oldest documents that testify to the presence in Scanno of bobbin lace date from the late 1500s.
Other theses argue that production of lace in Scanno already took place in the first half of 800, when
the bodice of Scanno’s women “ju cummudine” was trimmed with lace around the neck.
Along with the lacemaking techniques, also designs that were mostly made by the artists of the
6
Renaissance arrived in Abruzzo. These drawings were used as models mainly by wealthy women.
Women who could not afford the luxury of owning such a manual began to create designs on
paper themselves.
Similarities and difference between the techniques:
In the early lace the differences between lace from L’Aquila and Pescocostanzo are a result of the
thinness of thread, the designs used and the fact that in L’Aquila lace was worked by nuns (and
this, according to E. Ricci made the work much finer and more elaborate) and in Pescocostanzo by
the local women, mainly for the dowries of their daughters.
This can be documented also by the names of the stitches. In L’Aquila we find the Italian version
of the common ones (fondo delle rose, rete dieppe, etc.) and also early patterns which are very
similar to those produced in Flanders or Germany or England. In Pescocostanzo there are local
expressions for stitches and designs.
This demonstrates that the two kinds of lace, even though they started from a common
background and had continuous knowledge of each other, evolved along different tracks. Elisa
Ricci says “… Both in L’Aquila and Pescocostanzo we find tape lace. In L’Aquila, the tape is finer
and narrow, runs continuously as in Milanese lace to form figures, flowers and volutes, but with its
frequent curves it fills the space and does not leave room for bars or ground.
When the lace, becoming finer and lighter, makes a ground necessary, the lace-makers from
L’Aquila make one that is completely different from that in Milanese lace and is characteristic
of L’Aquila’s lace. Furthermore the technique is different because, while in Milan they work first
the tape and then, by tying in other threads, the ground, in L’Aquila the two parts are worked
together”.
The techniques of Scanno can be described by the origins of the points that characterize the
lace of Scanno: they come from the school of Genoa, Venice and Milan.
7
Michela Potenza
Bracelet and Earrings
8
Material: gold metallic threads and beads
9
Daniela Amarii
Tears of Black Gold 10
Material: metallic Madeira thread, synthetic thread Grignasco, coloured beads
Pearls of the Moon
Material: silver wire and pearls
11
Giuseppina Bonanni, Rossana Di Giacomo,
Gloria De Sanctis
Owls on Jupiter
12
Material: cotton thread, satin string and beads
Marina Di Persio
Golden Fantasies
Material: golden wire
13
Giuseppina Bonanni
The Wings of Life
14
Material: gold and silver wire, pearls
Concetta Costantini
Bracelet
Material: silver wire thread
15
Stefania Paolelli
The Milky Way
16
Material: gold thread, linen and synthetic Madeira, beads
17
Simona Iannini
Tides of Neptune
18
Material: silk, metal, cotton, synthetic
Belt of Rings
Material: linen threads, mouse tail, synthetic thread, leather, wooden ring, wooden beads
19
Francesca Nanni, Gianna Porfirio
and C oncetta C ostantini
Fires of Mars 20
Material: synthetic threads and beads
21
Rita Fattore and Marina Di Persio
Treasures of Venus 22
Material: gold and copper thread
Rossana Di Giacomo
Pendant with 4 Leaves Material: gold wire thread
23
G ermany
Forum Alte Spitze GbR
Anneliese Wienands, Marianne Stang
Am Tomberg 18. D – 52531 Übach-Palenberg
Our group, as the name says, deals with old lace, and research into its technique and
history. We organize courses, exhibitions, lectures and study tours.
As we have often participated in lace exhibitions we have rather attractive lace
collections and we are preparing further exhibitions.
At the moment we are occupied in organizing a trip to Denmark and southern
24
Sweden in 2013. For the following years we are planning to organize short trips to the Baltic States,
Scotland and to the Auvergne (France) to see museums with lace.
For some time now we have been doing research work on bobbin lace regions in Germany. We are
working in an OIDFA work group dealing with lace in German folk costumes. On this subject we
have already published four books.
As Marianne Stang was on the executive
committee of the Deutscher Klöppelverband e.V.
(German bobbin lace association), first as vice
president, then as president, for 12 years she was
the main person responsible for the publications
that she planned and wrote many articles for.
Anneliese Wienands and Marianne Stang also
publish books and catalogues of their own.
They have written many articles about lace for
other publications and have also given many
lectures. As they have completed the education
for lace teachers organized by the German
bobbin lace association and have participated
in courses on many lacemaking techniques,
they both give a variety of lacemaking courses.
Marianne Stang’s speciality is teaching people
how to recognize the different kinds of old lace.
The first international project we participated in was “Broken White” in which lacemakers from the three
countries Belgium, Netherlands and Germany presented modern lace objects.
Altogether we have been partners in four European projects dealing with lace together with
partners from Italy, Spain, France, Belgium, Slovenia, Czech Republic and Estonia.
Marianne Stang
25
Ann E. Wild
Collar and Earrings
26
Material: Bockens Knyppelgarn 100% linen Nel 60/2, 300 beads 3mm
Earrings
Material: stainless steel wire 1,125 mm, in some cases beads (2 mm rocailles)
27
Beatrice Müller
CollierMaterial: stainless steel wire
28
EarringsMaterial: stainless steel wire
29
Bettina Renn
CollarMaterial: Bockens linen thread nr. 60/2, colour 5013, Marlit: colour: 867, 822, 850, 1003, 832, 1053, 1055
30
31
Kirsten Brinckmann
Pendant, Ring and Brooch
32
Material: silver wire nr. 925
Button-hole-decorationsMaterial: silk
33
Kirsten Brinckmann
Collier Material: silver wire nr. 925 with fresh water pearls
34
Jutta Hoinkhaus
Collar
Material: different linen threads
35
Gabriele Grohmann
CollarMaterial: hanging pairs: old gold and silver thread, leader: FS 20
36
37
Christa Röhr
Pendant
38
Material: golden thread, nr. 4 (from: [email protected])
M arianne Stang
Buttons
Material: golden thread, nr. 4 (from: [email protected])
39
Anneliese Schröder
Collier
40
Material: Madeira coloured thread and silver pendant
Hermine Schwager
Metal band as accessory
Material: silver thread, nr. 4 (from: [email protected])
41
C zech R epublic
42
Česká palička, s.r.o. – One Hundred Years of Czech
M odern Lace
The contribution of Czech designers to the field of handmade bobbin
and needle lacemaking was enabled by an interplay of many and various favourable
coincidences which accompanied Czech lace from the establishment of the first lace
school in Prague in 1767, and culminated in the production of a number of textile
artists in the last century.
Following the
Czechoslavic Ethnographic
Exhibition in Prague
in 1895, the interest in
traditional handicrafts
increased, and the battle
for self-determination
augmented this interest
even more. Several new
lace schools were set up
and later became part of
the Central Lace Course
in Vienna. Lacemaking
tuition was at a high level
but was separate from
the rest of the national
culture. Thus the regional
character of lacemaking
in Bohemia was gradually
wiped out. In the lacemaking courses, the lace was made chiefly according to the
patterns designed by artists in Vienna. The Czech Johan Hrdlička was one of the most
famous ones.
The other outstanding personality of Czech lacemaking in the last century was Emilie MildeováPaličková who, in 1919, began to create her designs for needle and bobbin lace as tutor-designer
at the State School Institute for Home Industry. The exceptionality of Emilie Paličková’s creations
was quite evident right from the beginning; they are timeless even today. She gave lace yet
another dimension, and she passed it on to her students at the Academy of Arts, Architecture and
Design in Prague, where she taught for thirteen years from 1946.
In the course of the last century, Czech lace flourished. Thanks to state support and the continuity
of lacemaking education until the 1990s – specialized courses and secondary education, as well as
a specialized Lace Studio at the Academy of Arts, Architecture and Design in Prague – this field of
art has continued its development even without contacts with other lace centres.
The work of many Czech artists in the field of handmade bobbin lace and needle lace has achieved
43
a large number of significant awards in international competitions; and their beautiful and rare lace
creations have become part of the collections in many world museums and private collections.
However, in the nineties of the last century, the conditions for lacemaking in the Czech Republic
changed dramatically. Institutions like the Institute of Folk Art Production, Zádruha (workshops of art
and craft production), Artistic Crafts, and the State School Institute for Home Industry as well as the
Lace Studio at the Academy of Arts, Architecture and
Design in Prague were all abolished.
In 1994, Česká palička (The Czech Bobbin) was
established with these aims:
To follow up the work of Czech artists in the field of
handmade bobbin and needle lace
To support and develop lacemaking as a hobby in the
Czech Republic
To inform lacemakers about exhibitions, lace
gatherings, meetings and courses
To establish ties and contacts among individual lace
areas in our country as well as abroad
To promote Czech lace by providing support and help
with exhibitions
To organize lacemaking courses for beginners, as well as
courses for advanced lacemakers specialized in different
types of lacemaking techniques and focussed above all
on the quality of the work.
These aims were met and fulfilled in the years1997–1999
by taking part in the European Union project BLEN (Bobbin Lace European Network), and by creation
of a virtual Lace Museum on the Internet www.blen.net. A unique chapter about Czech modern lace
compiled from the works of outstanding Czech designers working in this sphere was obviously a part of
the presentation. Apart from the Czech Republic there were partners from Spain, Portugal and Finland.
In 1999, all activities of The Czech Bobbin were transferred to the Civil Association Krajka (Lace) that
engaged itself in publishing an occasional professional lacemaking magazine Krajka (Lace), and with the
help of its members, it undertook the preparation and organization of the World Lace Congress OIDFA
(the International Organization of Bobbin and Needle Lace) held in 2004 in Prague and other places in
44
the Czech Republic. The Congress itself was a success, as were the other supporting exhibitions; but later,
member activities gradually diminished, and Česká palička (The Czech Bobbin) came back to function
again as a publisher of the magazine Krajka (Lace). It also continues to organize lacemaking courses for
Czech and foreign lacemakers, still helps to prepare exhibitions in the Czech Republic and abroad; and
last but not least, keeps in touch with many lace regions at home and abroad.
At present, Česká palička (The Czech Bobbin) is participating in the European Union Grundtvig Project
Lace 4 Fashion together with Estonia, France, Italy, and Germany. Jewellery and fashion accessories created
by lacemakers within the frame of this project are shown in this catalogue. The two-year international
collaboration has promoted new friendships, and for all participants also brought a lot of interesting
experiences, not only while learning new and unique lacemaking techniques presented by each of the
partners but also while starting to become acquainted with the culture of each participating country.
Anna Halíková
45
Anna Halíková
Collier
46
Material: knitting cotton ribbon Spaghetti, blackgold metal thread
Collar
Material: brown and gold Madeira, gold Rexana
47
Vilma Nasková
Collar
48
Material: white linen thread TEX 52,5x3
Jana Lavičková
Hat Material: linen thread TEX 33x2, cotton thread 20/3
49
Alina Jašková
Little Mermaid
50
Material: linen thread TEX 33x4, silver metal thread, pearls
Collar
Material: linen thread TEX 33x4, Zlatka, DMC gold thread, DMC muline
51
Dana Mihulková
Bracelet 52
Material: cotton thread Maya, cotton Perlé, wire, beads, fashion jewellery complement
53
Jaroslava Lánová
Collar
54
Material: white linen thread TEX 33x2, beads
Bronislava Bacílková
Bracelet
Material: 2 strands of muliné, fashion jewellery complement
55
Ludmila Holá
Collar 56
Material: coton thread TEX 20x3
Lenka Malátová
Collier
Material: gold metal thread, corals
57
Jana Štefková
Collier
58
Material: linen thread, Swarovski beads
Collier
Material: linen thread
59
I va Prošková
Wedding Collar Material: linen thread TEX 40x3, silver Zlatka and wire, effective thread, textile flovers
60
61
E stonia
MTÜ Rahvuslikud Pitsid
MTÜ Rahvuslikud Pitsid (Non-governmental Association for Folk Lace)
was founded in 2008 by Kristiina and Priit Halberg in order to study the
very rich heritage of lace on Estonian folk costumes .
The aim of the association is to create a comprehensive database of Estonian folk
lace – information, photos, patterns, samples of lace; also to organize exhibitions,
workshops and courses about folk lace and to find new ways of keeping the tradition
of lacemaking alive.
The association has organized
exhibitions of Estonian
traditional (folk costume)
lace in Estonia and abroad
(Germany, France, Slovenia and
Croatia), also organized lace
courses and workshops for folk
costume makers and other
people who are interested in
bobbin lace.
Kristiina Halberg has taught
bobbin lacemaking at Tallinna
Rahvaülikool (Tallinn People’s
University) since 2004.
In 2011 Kristiina and Priit
Halberg were awarded Estonian
Folk Art and Handicrafts Union’s
folk art and handicraft Master’s
certificates in textiles.
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Kristiina and Priit Halberg
They also belong to the International Bobbin and Needle Lace Organisation OIDFA.
European Commission’s Lifelong Learning Programme’s Grundtvig Educational Partnership
Programme’s project “Fashion Accessories and Jewellery in Lace” is the first international project in
which MTÜ Rahvuslikud Pitsid participates.
Tallinn 2013
Workshop in Tallinn
63
Angelika Nöps
Green Poison
64
Material: linen, metallic, cotton, pearls
Maris Raud
Green-Blue Dream
Material: moulinee, metallic, wire, pearls
65
Triina-Britt Preden
A set „Blue fantasy“
66
Material: linen and metallic
67
Kaire Ries
Brooch
68
Material: metallic
P enelope Frances Piip
Spiced Coffee Collar Material: cotton, angora threads, plastic hearts, metallic bangles, wooden coffee stirrers
69
Kristiina Halberg
Idyll
70
made by Aino Hunt
Material: metallic
Ljuba Keskküla
Fimor
Material: cotton and self made fimo pearls
71
Antonina Pavlova
Forget-me-not
72
Material: cotton
Spring
Material: cotton
73
Epp T omingas
River Pearls
74
Material: silver wire and natural pearls
Luule Nurga
White Rose
Material: cotton
75
Kristiina Halberg
Fire
76
Material: linen, feathers
Angelika Nöps
Fish Scales
Material: different metal threads
77
France
Hôtel de la dentelle
Auvergne, and more particularly one of its four departments, The HauteLoire, became famous for its lacemaking several centuries ago.
Ideally situated on the Way of St James (the pilgrimage route to Santiago de
Compostela), Le Puy en Velay soon became the capital of a “rustic” and cheap type of
lace as opposed to the very fine and precious laces realized for kings, noble persons
and aristocrats (Alençon, Duchesse).
The pilgrimage route attracted pilgrims, peddlers, traders and retailers; its
geographical situation, a city encircled by passes and very remote villages, assured
a supply of cheap workers for this sedentary work, workers who were “happy” to find
an extra source of revenue in this activity carried out by the women at times formerly
“wasted” (in the fields when guarding animals, in the evenings).
Lace was made with wool, linen, black silk (the short distance to Lyon allowing
prompt supplies).
The term “Cluny” (which is the original name of this lace made with tallies) even
ended up being dethroned by the term “Le Puy lace”.
78
Brioude’s Cluny lacemakers proposed a new beginning, innovation based on excellence and knowhow. Brioude’s lace is designed, structured, the tallies in abundance, the plaits well tensioned. Taking
the technique of our elders, we wished to emphasize the aesthetic qualities of this too often misjudged
lace. To tighten up the lace, to refine the lines, and especially, to innovate ceaselessly, always to reach for
perfection, for surprise: from its creation, that was the desire of the Hôtel de la dentelle.
This approach attracted the attention of houses of Haute-Couture (Balmain); the constant innovation
and the aesthetic research led in 1996 to the creation of a new technique, conceived and developed
in our workshop: polychromatic Cluny de Brioude.
With the modern design, the effects of colour create delight and surprise. The originality of Cluny
de Brioude can be likened to a sculpture with many coloured touches, with the variety and the
multitude of its tallies.
The Hôtel de la dentelle, situated right in the centre of Brioude in a magnificent mansion of the XVth
century, invites the visitor to discover its original, unique and surprising creations in its showrooms. It is also
a workshop of design and realization and a workshop peopled by four lacemakers who have been awarded
the medal “Un des Meilleurs Ouvriers de France” (one of the best workers in France). Every year, about 150
pupils (adults and children) come to learn or to perfect their technique and to enjoy bobbin lace.
79
Annick Maubert
Arabesque – detail
80
Material: cotton, metallic thread, beads and feathers
Arabesque
Tourbillon Material: cotton, metallic thread, beads
81
Annick Maubert
Pendant 82
Material: cotton, metallic thread
Dolores Baron
Pendant
Material: silk
83
Sylvie Teissier
Brooch 84
Material: silk, batik fabric
Earrings
Material: silk
85
Emmanuelle Girard
Collier
86
Material: linen, beads
Collier – detail
Brooch Material: linen, fantasy thread, beads
87
Marie-Claude Espeche
Collar
88
Material: silk, golden thread
Bag
Material: silk, linen, ribbon, beads, feathers
89
Claudine Chanteloube
Collar „Aurore Boreale“
90
Material: cotton, metallic, thread, beads
Collier „Plumetis“
Material: silk, feathers
91
Caroline Panthier Sabot
Collier „Heritage“
92
Material: silk
Collar „Fleur du Desert“
Material: silk, metallic thread
93
Odette Arpin
Collier
94
Material: silk, metallic thread, beads
95
Contents
Romantic History of Lace2
Italy – Region Abruzzo
4
Germany – Forum Alte Spitze GbR
24
Czech Republic – Česká palička, s.r.o.
42
Estonia – MTÜ Rahvuslikud Pitsid
62
France – Hôtel de la dentelle
78
96