Bolilleras
Original title: Notebook No. 7: Jana Frajkorová © 2014,Bolilleras © edited in Spain © translation: María Isabel Albert García © of the Edition in English for everyone: 2014, María Isabel Albert Authors: Pablo Gustavo Cocconi María Isabel Albert García Cover design: Jana Frajkorová Digital editing: María Isabel Albert García They are strictly prohibited, without written authorization from the holders of the copyright, under the penalties laid down in the laws, the partial or total reproduction of this work by any means or procedure, including reprography and computer processing and the distribution of copies of it through rental or public lending. .
Notebook n ° 7: Jana Frajkorová of Bolilleras is a license of Creative Commons ReconocimientoNoComercial-SinObraDerivada 4.0 Internacional License.
© Bolilleras |
2014
Bolilleras
BOLILLERAS
Jana Frajkorová
© Bolilleras |
2014
Bolilleras
Pablo Gustavo Cocconi
Founder of the magazine Bolilleras
Starting with this issue, the magazine Bolilleras enters a new phase of existence. Indeed, thanks to the support of a group of collaborators at the international level, who decided to collaborate with us by sending us your designs or their research articles disinterested. The magazine Bolilleras has managed to enter the Census Socio-pedagogical magazines, in the world of bobbin lace, being a pioneer in digital publishing and use of new technologies. Since the appearance of the first issue (January 2014), we have tried to contribute to the dissemination of new knowledge in the field of textile art, through the publication of theoretical and empirical, unpublished works of academic quality. An important factor in the fulfilment of this objective has been the work done by reviewers and members of the Editorial Committee of the magazine. Our commitment is to continue with our task of dissemination of the work of research and creation of new designs that meet the standards set by academic peers. We are in the process of re-engineering that will hopefully result in a magazine with major national and international scope. Has not been an easy task to combine our professional work with the magazine; in particular given the conditions in which they operate the other magazines. However, we have tried to make our work with the best of wills because we have the conviction to be contributing to the strengthening of the education and teaching of bobbin lace. I appreciate the different invited contributors and members of the Editorial Committee, that they facilitated our task at the best of their abilities. Finally, I wish to place on record, thanks to all those colleagues, assistants and mainly subscribers, who supported us in the work of review, editing and distribution of the magazine. In reality they are many people to nominate each of them. Without their support none of this would have been possible.
Pablo Gustavo Cocconi Founder of Bolilleras
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2014
Bolilleras
Mª Isabel Albert García
Founder of the magazine Bolilleras
I want to start this letter by pointing out that the multiple functions of the magazine Bolilleras is a very important, which is the support of bobbin lace education through teaching distance and through new technologies. It is therefore our belief and perseverance in the work done by the magazine Bolilleras security contributes to this important function. Being on the verge of finalizing the edicional period 2014-2015 of the magazine Bolilleras, would like to make a brief balance of the main achievements of our magazine. First of all thank all contributors both creative, translators, and artists invited by having bet on continuity and quality of the magazine Bolilleras. So that by unanimous consensus agreed on creating the Solidarity project for aid to schools with low-income and marginal situation for the teaching of bobbin lace, as means of life and progress, is agreed to have a stable and intangible, economic background which has allowed funding for the publishing period 2014-2015, with a production of 7 teaching notebooks continued without interruption or editorial hiccups and that culminates now crowned by this latest issue of collection. The main achievements include: 1. The establishment of an editorial board renewed, essentially, "creative-academic", composed of leading figures in the field of textile art, such as: D. Priit Halberg (master lacemaker, Estonia), Mrs. Gloria Hernández Mut (master lacemaker, Spain), D. Pablo Gustavo Cocconi (master lacemaker, Argentina), Ms. Hana Humlová (master lacemaker, Rep. Czech), D. Ángel Sánchez Sirviente (master lacemaker, Spain), Mrs. Isis Chang (translator Edition Chinese, Taiwan), Mrs. Ebe Ciampalini Balestri (translator Edition Italian, Italy), Mrs. Carla Maria Santos Rodrigues (translator Edition Portuguese, Portugal) and Mrs. Mª Isabel Albert García (textile designer, Spain). It's with this Editorial Committee that began the redefinition of the magazine Bolilleras, a magazine of court distinctly "socio-pedagogical" in the field of bobbin lace. Reformulating the rules of presentation for the authors, taking for the first time, the requirements of the ISO standards of editing. All this forced a restructuring of content of the magazine which included: editorial, original articles of research, review issues, case reports, themes of opinion, historical articles, letters to the editor. 2. The continuity in the editorial production of the magazine Bolilleras, will be modified with a new edition, with 4 issues a year including program between March, June, September and December. We will increase the number of pages and the number of designs. We will keep the same subscription share. Despite all previous achievements, to make sustainable and durable our magazine Bolilleras required more economic resources, to provide it with a management structure and thus in the future reach their indexing in Bolilleras online. This makes those who take the post of the directive and of the Editorial Board of the magazine, to not only follow the path if not to improve it, making our magazine a means of dissemination of knowledge of the bobbin lace of high prestige, making it a benchmark national and international and above all not allowing that the community and quality editorial magazine Bolilleras is interrupted.
Mª Isabel Albert García
Editor and founder of Bolilleras
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2014
Bolilleras
IN THIS ISSUE:
01 Metal lace 02 interview with Jana FrajkorovĂĄ 03 Step-step: 03.1 Spider with double torsion 03.2 Practical exercise 03.3 Video tutorial
04 Designs: 04.1 Pendant and earrings 04.2 Bracelet 04.3 Bracelet 04.4 Amphora in 3D
05 Actuality news
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01.
Metal lace
Bolilleras
Origin and History
Author: MªIsabel Albert García
Origin
T
he lace with metallic threads dates back to the
Moorish era because schemes were similar to the beacons. Already in the 15th century historians spoke of tip of Spain or lace bobbin when the trimmings are spread through various countries. Was used to the clothes and ornaments of bedding. At the beginning these liners were called braid and worked with different threads, silvers and gold’s. Later moved to call randas and Punto España.
History
L
ace and embroidery is primitively, blended
leaving covered both in the handrail. According to Carmen Caro Baroja, in Spain called usually handrails to the lace of gold, silver and silk, and randa to the white thread points, sometimes mixed with color and metal thread. The lace to the bobbin, were prior to the needle. Isaiah, in the "book of Kings", CITES 'interlaced' shaped mesh belonging to the Temple of Solomon. In Egyptian tombs, mummies were found copings and fine robes adorned with works attributed to the bobbin, and even the thread that had served to execute the work is retained. According to Chevalier, these works were brought to Italy when Egypt became a Roman colony. Until the 13th century are lacking documents proving the evolution.
Margaret of Austria, Juan Pantoja de la Cruz, 1606, Prado Museum, Madrid
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2014
Bolilleras From the 14th century are preserved in the Monastery of Pedralbes (Barcelona) precious bobbin lace that belonged to Queen Elisenda de Moncada, wife of Jaime II. They are gold thread, silk Crimson, pearls and garnets, there is controversy among 109 most qualified authors in terms of the origin of these lace. The most widespread opinion is that they were introduced in Spain through Italy, which was the birthplace of the lace, both needle and bobbin lace. However, the first book of drawings for lace dates back to 1527, and was printed in Cologne. In any case, the artist most appreciated by employers was Vinciolo, official supplier of necks folded appointed by Catherine de Medicis. We believe, Furthermore, of the previous existence of another current coming from Eastern countries, whose features, well other than the Italian lace, rooted in our country with more strength, evolving admirably, giving rise to the points of Spain became famous throughout Europe.
1st half XVI, Church of Orillares, Soria (detail). Walloon decorated with randas, mounted in an alzacuello.1604. The infant Ana of Austria
Until the Arabs have influence us in these works, already the Iberians made braided cord and watermarks. The ornaments of the Lady of Elche have a marked Greek style. They were brought from the East by Phoenicians and Carthaginians, and are, without doubt, the forerunners of the Spanish gold lace. We cannot discuss supremacy the lace of this or that country. The word "railing" alone would demonstrate that the origin of the European lace was in Spain, since it has been literally translated to all lace centre’s. Whatever, sooner or later, what yes can be shown is that Spain reached great perfection in the execution of the lace, becoming our lace preferred in Europe. «Points of Spain» are introduced in other countries during the 16th and 17TH centuries, looking at large parties, especially by France and England. They were of great pomp, and the aristocracy of these countries abused them, even using them in underwear. These lace technique is different from others known, keeping great similarity with Persian and Turkish lace materials, polychrome silks, gold and silver; but they have own character which is due both to different implementation techniques and to his drawings.
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2014
Bolilleras
In Spain have been made all kinds of lace. The bobbins initially were metal, combined with silks and rich polychrome, many of them numerical and type torchon. He worked a lot in lace during the 17TH and 18th centuries, usually for mantillas and altar cloths, and in the so-called ret-fi Catalan, enviable fineness and perfection, differing from the blondes in that those were with silks, and the latter, always with thread. The great kings of Spain were who enhanced it, dictating levies and lowering taxes. We have traversed an era of Frank decadence of the lace, from the industrial revolution to the present day, because these works, mainly craftsmen, have been poorly protected.
The ladies of the procession of the fúcares (16th century) imported tasks from the Netherlands, who were at that time in their places of origin, adding the characteristic styles of your lace to the varied existing in Spain and with different techniques, such as: old Belgium Flanders, Brabant, Binche, Mechelen, Rosalina and Duchess of Bruges. Meanwhile, passed to the Netherlands famous points of Spain to the bobbin and the banded, filigree and Spanish “frisados”, developed the first in the Toledo Jewish quarters, and the latter, in Valladolid, in the convents of closure, belonging to the needle lace. The most famous centre’s of lace were in Almagro (Ciudad Real). Cataluña lacemaker had a great tradition, and is the place of Spain where more is working for recovery, which helps the already created in Arenys de Mar Lace Museum. In the Valencia region had great importance lacemaker Monóvar and Novelda. In Madrid, and in the Court of Elizabeth II, very loving of these works, existed lacemakers of great popularity, even with right to use real guns in their establishments. In Galicia, the Center lacemaker most notably Camariñas, whose production was very high, but lower quality. Great efforts are being made in this region to retrieve a tradition that had waned.
Metallic lace with gold thread, point Spain.
You want than what motivates me to write these lines is the desire to do resurface the Castilian lace, step by detailing the most important. While all kinds of lace, which had its own characteristics was performed in Castile were: the Suns of Salamanca and Valladolid repointing, standing both among «sockets to the needle». Regarding the bobbin, were mostly numeric lace and torchon, although less frequent, precious lace from Flanders we see finishing some parts of Suns that agreed at the end of the 17TH century. We must not let aside the lace, that even though its industrialization, is not known were in great profusion, existing models of very nice design and perfect execution. As a general rule, it was the lace: castanets, two-tone, light, and the most beautiful, the «morenilla», traditional blanket with bright and flowery motifs, distinguishing it from any other foreign lace.. There are very few houses that do not possess any work of mesh, usually darned, and in this field exist authentic works of handicraft, as well how many macrame fringe for towels and cloths devoted to worship regularly. Folklore Magazine No. 075 year 1987
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2014
02. Interview with‌
Bolilleras
Jana Frajkorová
Slovakia
Photos: Jana Frajkorová
“You can`t twist anything in mathematics because 2 time 2 is always 4 and that is amazingly logical like the lace itself”. Author: Jana Frajkorová
Jana Frajkorová, born in Slovakia, a former teacher
of mathematics and technical education. You can’t twist anything in mathematics because 2 times 2 is always four and that is amazingly logical like the lace itself.
“When and how was your first time with the bobbin lace, and what did you feel?” I was 10 and I felt completely natural, I was trying everything with what you could create something. “How is the bobbin lace for Jana Frajkorová?” An amazing technique, with which you can imagine and experiment without limit. That is freedom. “Your works are real pieces of art, sculptures, paintings, three-dimensional... How would rate them modernist or contemporary? and which features meet a piece of lace to be considered as a work of art?”
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2014
Bolilleras I don’t think about it, I do whatever I feel and what I enjoy greatly. If somebody else likes what I do, that’s a success. It’s not enough to handle the technique; you need a creative spirit, an idea and technical skills to create something new. “Which of your works is what most characterizes you” Wire weaved like bobbin place, minerals, glass, painting, and when it comes to clothing - various natural textiles with leather and fur, but also painting on silk. Lately, objects placed in a garden for example. “With what materials you feel more comfortable to work and what have you not used and would like to experience?” I like copper, stainless steel, brass, zinc-coated and silver-coated wires very much. I also like rusty wire but it creates complications and maybe I would try gold wire.
“What are the most essential techniques of bobbin lace a lacemaker should be seen as essential?” Mainly, she should learn the bobbin lace technique from her own region or country. It is important to have something to build upon. Without the past, there is no future. “What future is bobbin lace to Jana Frajkorová?” The lace is becoming a luxurious hobby. You need to spend too much time on it and while the result brings you happiness, you can hardly expect an adequate reward. I wouldn’t count on it. But lace definitely connects people from around the world, it becomes a mean of communication. For me, it’s always a challenge. I’m happy to design and create things that evoke positive feelings in people and it’s definitely amazing when somebody buys it, hangs it in their home and looks on it daily
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2014
Bolilleras “What do you think about the new technologies applied to bobbin lace?” Anything is acceptable as long as you include some proper technique. People look down on superficiality. Personally, I don’t like plastic. Everything natural is amazing. “What advise future generations of lacemakers?” Do not underestimate the skills of lacemakers from 300 years ago. The craft of lace-making is disappearing right now. Lace-making is a process, from which you crate a new aesthetic object from threads or other materials. Machines can’t replace the skill and craftsmanship of humans. And I think that people need to prove to themselves that they still have these skills.
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2014
Bolilleras
Video Documentary Guest artist: Jana Frajkorová Edición y Producción: Mª Isabel Albert García © Edition © Printed in Spain © Bolilleras
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2014
03. Step-step‌
Bolilleras
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Bolilleras
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Bolilleras
Spiders with two torsions Author: Pablo Gustavo Cocconi Editing and Production: Mª Isabel Albert García ©Edition ©Edited in Spain ©Bolilleras
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2014
04. New designs
04.1 Pendant Earrings
Bolilleras
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04.2
Bracelet
Bolilleras
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04.3
Bracelet
Bolilleras
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05. Actuality News
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Actuality Bobbin lace JEWELERY AND ACCESSORIES
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Lia Looga Released September 13, 2014
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2014
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Advance November
Special edition: Shawls In November we will offer a special edition of Shawls, with the collaboration of a very special guest artist Lia Looga (Estonian) and unpublished Bolilleras designs for men and women.
Content: 1. The shawl. 2. Interview with Lia Looga 3. Step-step: a. Spiders b. Video tutorial c. Practical Exercise 4. Designs 5. Actuality. *6 designs totally original
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