Knit and lace crafts seem to have made a come back from historical relegation. Not only in the traditional sense but also with industrial adaptations such as the Nike Flyknit.
It used to be that families across Europe would come together to create decorations in lace for clothing or housewares. But presumably over time and with the increasing availability of innovative and compelling factory made products, the tradition of lace was left behind.
With once abandoned Lace Schools reopening, as the ‘Tombolo’ school in Scanno, Italy (‘tombolo’ is the cushioned role over which the lace is created). People are once again able to learn this delicate craft.
Recently lace also has found its place in contemporary art with exhibitions like ‘Lost in Lace: New approaches by UK and international artists’.
Artists like Pierre Fouche have adopted lace as their artistic media.
As has Annie Bascoul in her installation called ‘Jardin de lit’ at the Birmingham Museums & Art Gallery. Annie Bascoul uses the traditional needlepoint lace techniques and designs of Alençon, France.
In design these upcycled Doily Wedges by Corinne Leigh are an interesting example.
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Designer Marcel Wanders has also been experimenting with Crochet to make furniture.
And Dutch Design House Demakersvan have been creating elaborate fences with inspired designs. Jeroen and Joep Verhoeven along with Judith de Graauw created Demakersvan which means “the makers of” in 2005.
Philosophically the Lace Fence design is reversal of the evolution of industrialization, in which the culture of hand-made objects was gradually usurped by industrially manufactured products. And it shows how beauty can be applied even to the most ordinary objects as a new design deliverable.