Idrija Lace, A History Written in Thread by MaKo studio, interaktivne resitve

Idrija Lace A History Written in Thread

Idrija Lace, A History Written in Thread 2nd edition Published by: Mestni muzej Idrija©, Prelovčeva 9, SI 5280 Idrija, www.muzej-idrija-cerkno.si Editorial Board: Marija Terpin Mlinar, Mirjam Gnezda Bogataj, M.A., Ivana Leskovec Contributors of texts: Ivana Leskovec, Mirjam Gnezda Bogataj, M.A., Marija Terpin Mlinar, Maja Svetlik, Metka Fortuna, Tina Koder Grajzar, Assist.Prof.Dr. Tanja Žigon, Mojca Ferle, Mira Hodnik, Majda Pavšič, Petra Marinko Rus, M.Sc., Urška Bajec Rupnik, Prof.Dr. Janez Bogataj Reviewed by: Dr. Janja Žagar Translated by: Suzana Stančič Photos: Tomaž Lauko, Božo Uršič, Andrej Furlan, Iztok Bončina, Marija Terpin Mlinar, Maja Svetlik, Tina Koder Grajzar, Janja Žagar, Svetozar Busić, Vlastja Simončič, Vladimira Berlič Novak, Jani Peternelj, Photo library of the Idrija Municipal Museum, Photo library of the Cerkno Museum, Documentation of the Museum & Galleries of Ljubljana, Photo library of the Slovene National Museum of Contemporary History, National and University Library in Ljubljana Illustrations: Andrej Furlan, Jaka Modic, Jurij Vega Secondary School Idrija − Idrija Lace School, Helena Škrlj, Monika Milič, Urška Bajec Rupnik Archival sources: Historical Archives Ljubljana, Idrija Unit, Archives of the Republic of Slovenia, Austrian State Archives, Tyrolean Provincial Archives, Styrian Provincial Archives Cover design: Rudi Skočir, Ivana Kadivec Design: Ivana Kadivec Processing of photos and layout: Jaka Modic s.p. Computer application design: MaKo Studio Printed by: Gorenjski tisk storitve d.o.o., Kranj Copies: 800 Idrija 2013 CIP - Kataložni zapis o publikaciji Narodna in univerzitetna knjižnica, Ljubljana 746.21(497.4Idrija)(091) IDRIJA lace : a history written in thread / [contributors of texts Ivana Leskovec ... [et al.] ; editorial board Marija Terpin Mlinar, Mirjam Gnezda Bogataj, Ivana Leskovec ; translated by Suzana Stančič ; photos Tomaž Lauko ... [et al.] ; illustrations Andrej Furlan ... [et al.] ; archival sources Historical Archives Ljubljana ... et al.]. - 2nd ed. - Idrija : Mestni muzej, 2013 ISBN 978-961-6563-26-0 1. Leskovec, Ivana 2. Terpin, Marija 270423808 The issue of this publication was financially supported by the Municipality of Idrija, the Ministry of Culture of the Republic of Slovenia, and the Dr. Bruno Breschi Foundation, Institution for the Preservation of Old Slovene Literary Works.

Contents Foreword

Presentation

10 26 44

History

66 86

148

Education

168 182

Janez Bogataj • Do We Still Feel Like Making Bobbin Lace? Ivana Leskovec • Idrija Lace in a European Setting Metka Fortuna, Maja Svetlik • Making Bobbin Lace Tina Koder Grajzar • Technological and Formal Development of Idrija Lace Tanja Žigon • Translating Archival Sources on Idrija Lace from German into Slovene Marija Terpin Mlinar • Historical Overview of Bobbin Lacemaking in the Idrija Region from the Late 17th to the Early 20th Century on the basis of Archival Sources Mojca Ferle • Ljubljana and the Development of Bobbin Lace in Slovenia Majda Pavšič • Ivanka Ferjančič (1850−1879): The Life and Work of the First Teacher at the Idrija Lace School Mira Hodnik • History of the Idrija Lace School

Bobbin Lacemakers and Lace Trading

216

Petra Marinko Rus • Bobbin Lacemaking as a Source of Income in the Idrija Region in the 20th Century

Permanent Exhibition and Catalogue of Exhibits

238

Mirjam Gnezda Bogataj • Museum Presentation of Idrija Lace Mirjam Gnezda Bogataj, Urška Bajec Rupnik • Catalogue of Exhibits at the Permanent Exhibition Idrija Lace, A History Written in Thread (enclosed on DVD)

254

259

Contributors

Do We Still Feel Like Making Bobbin Lace?

● ● ● The question in the title may seem slightly provocative, particularly if it is asked in Idrija and in other places where bobbin lace is being made. But it is asked both as a reminder and a challenge at the same time. A reminder of the value of skills and knowledge that have been developed and enriched over the decades and centuries. Although we could speak of the relatively slow development of bobbin lace as regards patterns and shapes, even of time constants, but we certainly cannot disregard the numerous innovations and applications that are particularly characteristic of their contemporary appearance and solutions in different fields and trends of fashion design. And in this development flow, the functions of lace and its applicability and purpose have also changed. Having co-designed man’s living environment and clothing culture in past decades, laces are today becoming works of art, appearing even as fashion components on shoes or in picture frames as elegant business and protocolary gifts. Lace has thus crossed the threshold of collars, tablecloths and borders on bedlinen and curtains. Contemporary bobbin lacemakers are intensively endeavouring to create beyond the frames of artistic ornamental solutions, and are reaching into the spheres of the portrait, figure, and the depiction of objects. This direction is, perhaps, somewhat less successful and often does not surpass the frames of artistic or esthetic mediocrity. But we can say, without a doubt, that we still feel like making bobbin lace, and the feeling is growing! Bobbin lacemaking is becoming a mass handcraft precisely because it is not linked (in the same way as in the past) solely to economic existence and replenishment of the family or personal budget. Yet perhaps the present times are again placing this quality and possibility of bobbin lace handcraft creativity in the forefront. Bobbin lacemaking is first and foremost one of the most important branches of our cultural heritage that has been preserved, or that we have preserved, through centuries of development and innovations up to the present times. For this very reason we have much to learn from its highly diversified content and forms of expression, and can »use« it in our search for new creative opportunities. It is precisely here in Idrija that lacemakers have often shown and proven in recent years how bobbin lacemaking knowledge and skills can be admirably applied, e.g. in contemporary fashion. This »lesson« not only applies for bobbin lace, but also for numerous other handcraft skills and activities. Some of those activities which stubbornly persisted solely in repeating historical memories and replicating old patterns are gradually disappearing (e.g. one such example is the making of majolicas in Kamnik; the case is similar in basketry and elsewhere). Bobbin lacemaking was a handcraft that came from the broader European environment. Parallels can be drawn with numerous modern »innovations« (which I prefer to call idiocies) that are flooding our environment as a result of the famous globalistic process. Introducing bobbin lacemaking skills was, however, something entirely different. This skill was first accepted by people in its entirety, and only afterwards did they gradually begin to adapt it to their specific technological, artistic and functional solutions. In the case of bobbin lacemaking, we therefore cannot speak of parrot-like acceptance that so often characterizes the present-day uncritical acceptance of global values, crafts and skills. The next important fact stemming from the history of bobbin lacemaking activities in Idrija and its broader surroundings was the introduction of the craft in this mining town in order to provide for additional work and earnings. The reasons were similar in some other places, where the authorities very consistently implemented, on the basis of mercantile

and physiocratic policies, specific handcraft skills and related training, together with everything that such skills required. This included textbooks, manuals, work requisites, and others. Are we capable of such »exploits« today? The answer is very brief and clear: No! Even more, we often look upon such activities with considerable cynicism and repulsion. In doing so we do not realize that the development of and support for these activities should be in line with their contemporary creative aspirations and achievements, and not in the style of romantic and nostalgic exaltation over the allegedly beautiful shapes and forms of the past. Today many countries provide substantial support to such skills, being well aware of their significance, which can also be a successful market or economic product that does not reach solely into the domain of something »in between«, that is, in between culture, cultural heritage and tourism. Care and assistance also comes in the form of education and the inclusion of modern handcraft skills in various curriculums. We have failed the test in this area, which means that it is practically impossible to make up for the loss. After all, some of the most important bringers of rich handcraft knowledge and skills have already passed away. And their knowledge has died along with them. For this very reason bobbin lacemaking and bobbin lace heritage can be a good example for its preservation and building. Not out of politeness, but thanks to actual facts we can say that the making of bobbin lace in Idrija and its surroundings (as well as in other parts of Slovenia) has been preserved and is developing primarily as the result of continuous education. In this respect special mention should indeed be made of the Lace School in Idrija, which, despite being threatened with closure in the 1980’s, has continued to operate thanks to the victory of common sense. Today, the numerous students of this school are among the leading preservers, developers and teachers of bobbin lacemaking skills. Bobbin lacemaking thus has its own unique history and experience in the areas of education, sales and presentation. Among the latter are also this publication and the permanent exhibition at the Idrija Municipal Museum. Not only this presentation, but also various occasional exhibitions, the Idrija Lace Festival and other events linked to bobbin lace represent the most precious and non-misleading form of sales promotion, and indirectly spread knowledge about this handcraft and its »story«, which we so often emphasize as being prerequisites for the entry of products into the daily lives and holidays of people. The modern-day bobbin lacemaking skill with its broad cultural heritage dimension is also one of those handcrafts that release tension, stress, and other »values« and »treats« of modernity. And this had already been its, albeit unconscious, quality in past centuries. For our ancestors, too, knew the stresses of their times and found ways of solving them, along with all the rest, also with the help of bobbin lacemaking. So it does not suffice to speak only of the economic significance of bobbin lacemaking, which often represented a basic means of survival, but also of socializing, i.e. the communication process that unfolded in the course of relaxing work. And perhaps this is precisely what modern man needs to surpass his dogged loneliness and alienation on the one side, and the multitude of »trivialities of daily living« forced upon him on the other side. Prof.Dr. Janez Bogataj

»Women and girls made lace all day long, and stopped only when it was cooking time.« Anton Poženel, Idrija, born in 1893 (written in 1975)

Presentation

Idrija Lace in a European Setting ●

Ivana Leskovec

11 ON LACE AND LACEMAKING IN EUROPE 12 16th Century: The Birth of Lace 12 17th Century: Emergence of Stylistic and Technological Differences between Laces 14 Novelty at the Turn of the 18th Century: Non-continuous or Part Lace 15 18th Century: Differentiation of Laces 15 19th Century: Lace begins to Disappear from the Fashion World 16 20th Century: Decline of the Lace Industry 16 Development of Lace and Lacemaking outside Major European Centers 17 RECOGNISABILITY OF IDRIJA LACE 17 First Mentions of Idrija Lace in the Market 18 Trademark − Protection of Idrija Lace 19 Idrija, Slovenian and National Lace 21 Idrija Lace Today 23 CONCLUDING THOUGHTS 24 Sources 24 References

Brugge

Bedford Honiton

Binche

Brussels Mechlin

Lille Valenciennes Chantilly Cluny Le Puy

Genoa

Idrija Lepoglava Vienna Milan Venice Ore Mountains

Young woman in lace dress made by the Čipka Idrija company in the 1960’s · Photo Library, Idrija Municipal Museum, inv. no. 12656

● ● ● One can arguably speak of lace and lacemaking in the European area from the beginning of the 16th century onward.1 After the first lace pieces appeared in Italy and Flanders2, lacemaking spread rapidly and became an increasingly more important economic activity, and lace an all the more sought-after fashion accessory or component of clothing items. In the past, fashion decisively influenced the development of lace as well as the flourishing or decline of this home industry or craft, and consequently also the lace trade. The tendencies towards revealing and exhibiting dictated the dressing style and consumption of luxury products. Owing to fashion trends that were exceptionally inclined towards lace, the 17th and 18th centuries represent the peak and blossoming of European lacemaking. When speaking of lace, one generally refers to hand-made lace, although machinemade lace was also known from the 18th century onwards and gradually gained popularity in the period up to the beginning of the 20th century, when it successfully replaced its predecessors. Various lexicons define lace pieces as openwork products made of textile threads in various patterns. Lace may be made by hand or machine. Hand-made lace includes knitted, crocheted, filet, shuttle or knotted, ribbon-like, needle, and bobbin lace.3 Among those mentioned, the last two, i.e. needle and bobbin lace, are the most famous and widespread. Idrija lace belongs to the group of bobbin lace. Every discussion about Idrija lace in its home environment always ends with the questions when and from where was bobbin lacemaking brought to Idrija, what does historical Idrija lace look like in comparison with present-day lace pieces, does historical Idrija lace differ from other laces of its time, how does it differ, where is its place in the lace world, how far did Idrija’s influence as a lacemaking centre reach, and where is Idrija’s place on the European map of lacemaking centres. The aim of the discussions and contributions in this book is to throw light on the beginnings and development of lacemaking in Idrija and partly also in the broader Slovenian territory, to present the basic characteristics of the technological and design development of laces themselves, to explain and substantiate their physical form and, first of all, to place Idrija lace in the European historical framework.

ON LACE AND LACEMAKING IN EUROPE The precise beginnings of needle and bobbin lacemaking are not known. Researchers and experts in this area generally agree that an innovative leap in the method of embroidering or making reticella embroidery and in the making of passamenterie4 trimmings and ribbons occurred at the end of the first quarter of the 16th century, 1 2

Previous page: Map of lacemaking centres in Europe · design: Andrej Furlan;

documentation of the Idrija Municipal Museum, permanent exhibition 2008

Anne Kraatz, Lace: History and Fashion, London 1989, p. 12. Today, Flanders is one of three federal regions of the Kingdom of Belgium, and is divided into five provinces: Antwerp, Limburg, East Flanders, West Flanders, and Flemish Brabant. Prior to Belgium's constitution as an independent state in 1830, these provinces were part of the Netherlands. Tatjana Cankar, Zgodovina klekljane čipke v Evropi in njeni vplivi na klekljarstvo Slovenije: diplomsko delo, Ljubljana 1988, p. 4.; cf.: Čipka, Slovenski etnološki slovar, ed. by: Angelos Baš, Ljubljana 2004, p. 68. Passementerie (Fr. passements − decoration(s)) is the art of making patches, rope decorations and trimmings for clothing or home textiles. The majority of these products were initially made of gold, silver and silk thread. By elaborating the technological process of interweaving threads into a woven base and employing bleached flax yarn, a new method of work developed in the 16th century − bobbin lacemaking.

Idrija’s bourgeois women at the beginning of the 20th century ·

photo: Milan Papež; Photo library, Idrija Municipal Museum, inv. no. V-733

which led to the birth of lace − lace as an independent textile structure. Punto in aria needle lace developed from embroidery made in the reticella technique, while bobbin lace originated from passementerie braids. Experts more or less share the belief that the transition from one technique to another occurred simultaneously in Flanders, probably in the area around Antwerp, and in Italy, almost surely in Venice.5 Although the older techniques of working textiles (reticella embroidery and passementerie braids) remained in use for decades to come and developed alongside the new techniques, the interest in lace grew rapidly from the mid 16th century onwards and spread geographically. Lacemaking became an important economic activity that provided work and earnings to thousands and thousands of female workers throughout Europe for more than 400 years. For centuries, lace was an important component of the clothing culture of specific social groups. Lace defined its users and determined their place in the social hierarchy, it was an important status symbol, and its value was comparable to that of gold, jewels and precious fabrics. In Europe, three main regions that were significant for the development of lace and lacemaking developed concurrently. One could say that these regions had primacy in lacemaking, as they played an innovative role in and decisively directed its development. These are Flanders, Italy and France. Over the decades and centuries, several other lacemaking centres, both small and large, developed alongside them. Almost every one of them left their mark on lace. However, in contrast to the first three mentioned, their influence on the global development of lace was considerably smaller, geographically limited, economically less effective, and therefore less important.

16th Century: The Birth of Lace In the early period, i.e. in the 16th and early 17th centuries, lace pieces of similar design, motifs and technology were made throughout Europe. The patterns were simple and mainly comprised geometric elements. Both needle and bobbin lace patterns were similar, as all lacemakers took ideas for their creations from the same printed catalogues.6 The patterns that became popular spread quickly. Everything that was fashionable in Italy soon became fashionable in other large cities of Europe and vice versa.

17th Century: Emergence of Stylistic and Technological Differences between Laces The 17th century saw the beginning of endeavours to create stylistically and technologically different lace pieces. In this respect, three highly significant shifts occurred on the European lacemaking scene in the period from 1620 to 1690, which left their mark on the image of lace and influenced the flourishing and further development of this home industry or craft.7

Next page: Brussels application lace, used to make flounces for women’s crinolines · photo: Tomaž Lauko; Lace collection, Idrija Municipal Museum, inv. no. 1829

Flanders − First Appearance of Stylistically and Technologically Different Laces Initially, more or less similar bobbin lace pieces were made throughout Flanders. Owing to the favourable economic conditions and under the influence of intensive contacts with the outside world, Flemmish towns experienced overall prosperity in the first half of the 17th century. The notable lacemaking centres in their hinterland, e.g. Brugge, Binche, Brussels, and Mechlin, also developed at the same pace. Slowly but surely, these centres perfected a method of making lace that was expressed in the creation

7 5 6

Anne Kraatz, Lace. History and Fashion, London 1989, p. 12. Anne Kraatz, Lace. History and Fashion, London 1989, p. 12. Ibid, p. 36.

of stylistically and technologically different laces. These lace pieces were named after the places of their origin − Brussels lace, Mechlin lace, ... It was not until the 18th century that these laces truly began to flourish and gain popularity in the market. Emergence of Venetian Lace or Venetian Gros Point Needle lace and bobbin lace were made in Italy. After the initial fervour, however, lace production stabilised because the lacemaking centres did not follow fashion trends in the rest of Europe. Lace was predominantly made in Genoa, Milan and Venice, but was also imported in large quantities from Flanders. A huge leap in production occurred in the mid 17th century, when Venetian lacemakers launched a novelty in the market that quickly gained popularity (1650−1670). The new lace, named Venetian or Venetian Gros Point, soon became a fashion hit and indisputably took reign over the lacemaking world. This luxurious, heavy needle lace captivated the European nobility. It was equally desired in men’s, women’s and children’s fashion wear, as well as in home furnishings. Emergence of French Lace or Point de France Enormous quantities of lace were used in France in the 17th century, most of which was imported from Venice. In a desire to strengthen the country’s economy and raise the value of existing, though poorly organised and dispersed French lacemaking centres, the finance minister of King Louis XIV, Jean-Baptiste Colbert, began to establish in 1665, in the spirit of the mercantilist economic policy which he advocated, royal manufactures for making lace. His idea was not only to make copies of Venetian and Flanders lace, but to create new, different lace that would be recognisable in the market. By importing lacemakers from Venice and Flanders and systematically organising work, he managed, within a period of ten years, to establish strong production centres in Alençon, Sedan, Lille, Valenciennes, Dieppe, Le Havre, Honfleur, Pont-Lévêque, Caen, Gisors, Le Puy, … Work was carried out in a closed circle and was strictly centralised, while novelties and modernisations were introduced by including his own designers in the work process. This led to the development of lace with different technical characteristics and its own recognisable style − French lace or Point de France.8 French lace became fashionable and very expensive. With time, it began to be copied by other lacemaking centres. This ensured its long-lasting primacy in the lace market.

Novelty at the Turn of the 18th Century: Non-continuous or Part Lace Owing to the political situation in France at the end of the 17th century, the production of expensive needle lace declined, but strengthened on this account in Venice and Flanders. Bobbin lace regained popularity after experiencing a considerable drop in production in past decades because of French lace (Point de France). At the turn of the century, Flemmish lacemakers introduced a new method of working lace in parts − the non-continuous thread technique, where various needle lace motifs were incorporated into bobbin lace. This bobbin lacemaking method or technique quickly spread far and wide from Flanders. It was particularly well-received in Italy, especially in Milan (Milanese lace). In France, bobbin lace was made in small quantities after being prohibited by the authorities, which claimed them to be inferior.9 Nor was it accepted by all Flemmish centres. Non-continuous lace was massively produced in “rural” Europe until the beginning of the 20th century. It became widely used in the clothing culture of the middle classes which, thanks to the overall rise of their standard of living, now found such lace to be easily affordable.

8 9

Ibid, p. 46. Ibid, p. 52.

18th Century: Differentiation of Laces

Brussels duchesse lace, used to make women’s shawls · photo: Tomaž Lauko; Lace collection, Idrija Municipal Museum, inv. no. 1827

The main characteristics of the development of lace in Europe during the 18th century are specialisation and ever greater differentiation. The laces of major Flemmish centres, such as Binche, Mechlin and Brugge, were prevalent in the market. Brussels lace was in great demand in the mid 18th century, while Valenciennes lace gained popularity in the 1740’s. Lace of high quality was made in large quantities in the French cities of Le Puy, Caen and Ronen, but interestingly enough, these centres never created lace with their own trademark. In this period, the use of simple lace grew rapidly throughout Europe at the same time as the production of heavy needle lace declined in the old centres of Alençon and Sedan. But it did not disappear. Needle lace continued to be a lace of prestige, and proof of true wealth and refined taste. Reserved for the nobility and the aristocracy. The 18th century also saw, alongside the reputed centres and their recognisable lace products, the emergence of many small centres which freely designed their own lace creations and imprinted in them their own personal stamp. Irrespective of their strength and size, the new lacemaking centres were significant, as they represented an important source of income to numerous women and young girls. In the second half of the 18th century, the term “Idrija lace” was explicitly mentioned for the first time in sources.10

19th Century: Lace Begins to Disappear from the Fashion World At the end of the 18th century, the history of European states was marked by the French Revolution. This announced the beginning of the end of feudalism and radical social changes. The nobility as the largest purchaser of expensive lace was driven out of public life and was deprived of its social role. And together with it, lace also began to disappear from the glamorous world of fashion. Lace lost its leading role in fashion and clothing culture, this role becoming increasingly limited to ornamental and decorative elements of individual items of clothing. With the implementation of a new social system in the early 19th century, there began to awaken among the European population a national awareness and a sense of allegiance to the community, local environment. Pieces of clothing began to be designed that were typical of individual places and regions. In particular rural settlements each began to develop their own costumes, which differed slightly from their neighbour’s. Many times and in many places with an abundance of lace. Most prominent were various headdresses decorated with lace. This gave fresh impetus to the lacemaking industry, as it was largely owing to the new »rustic« vogue that the middle classes became a major consumer of lace, especially bobbin lace. In the mid 19th century, a similar situation in the lacemaking industry existed in Spain, France, Flanders and Italy. Production in old European centres became extensive and poorly organised. Characteristic of this period was that specific types of lace were made at various lacemaking centres. Mechlin lace was no longer made only in Belgium, but also or predominantly in Spain and Italy. Lille lace was made throughout Europe. In this period, Cluny lace was the most popular type of lace from Finland to Spain. In Italy, copies of 17th century lace were made. In the second half of the 19th century, the famous Valenciennes lace obtained its own version of non-continuous lace, known as Brabant. New types of duchesse lace appeared in several versions (Bruges duchesse and Brussels duchesse), as well as application lace, where needle lace motifs were applied on a machine-made ground (various meshes). The greatest novelty in the 19th century was, however, the introduction of machine lace. This type of lace began to be produced more extensively in the early 19th century. More on this topic in the contribution by Marija Terpin Mlinar, Historical Overview of Bobbin Lacemaking in the Idrija Region from the Late 17th to the Early 20th Centuries on the basis of Archival Sources.