Don't forget that traditional lace would once have been considered "modern" - laces like Maltese and Bedfordshire certainly followed the general designs in use in other media at the time, and all lace had to follow fashion to stay economically viable. In times gone by, it wasn't the lacemakers who designed the lace because working in a cottage industry they simply didn't have the time to consider working out their own patterns. It is possible that those who did "gave up the day job" to go it alone, or if they showed signs of having particular talent were "talent spotted or head-hunted" by the dealers who supervised their work. One would have had to have some financial independence to afford art and design training of any type, and in many cases those designing lace would probably have been working in wider fashion circles - the lace being designed to complement the item it was to adorn. The option for any lacemaker to start designing for him/herself would have most likely de! veloped with the onset of the adult education, when lace was being made as a hobby rather than as a means of earning a living. Design isn't for everyone, and as Sue pointed out, if we all designed, there would be no-one to work our patterns. It is nice, though, when after designing a piece of lace (be it modern or traditional), you find out it has been worked by others - it makes the time spent working on the design worth it.
To some extent I think that whether in a class you have some or no students wishing to design is down to the motivation they are given - if the teacher is weak in his/her own design skills, then s/he is less likely to encourage her students to progress in that area (because, maybe subconsciously, s/he doesn't feel confident to guide them if they get stuck). If the teacher has an open mind, with a "why not try, and see if you like it" attitude, and gives the class some opportunity and guidence as to how to do their own thing, even if it is only changing elements in a Torchon pattern rather than sticking with the prescribed stitches, then some might wish to go further in that direction. In the past there have been some teachers who actively or accidentally suppressed any deviation by their students - maybe I'm not the only one to have been put off wearing a piece of jewellery I designed by the reaction to it by my teacher - fortunately that was reversed when I had the piece on! display when I was giving a demonstration and it got so many compliments I started wearing it again. It's a bit like having children - let them learn from their own mistakes, if they want to follow a particular direction, or work on one apect, let them - don't feel you, as a teacher, have to push them into what you want them to learn - sometimes they will carry on (though maybe only in class, for fear of upsetting you) - some will put their toes in the water and decide it isn't for them, others will take the traditional skills they have learned, and move them on into thicker threads, distorted grids and shapes, and wild colours - lace at the end of the day should be what pleases the lacemaker, regardless of whether it is a traditional pattern, designed donkeys' years ago and worked umpteen times, or something they lay musing about in the bath as a "I wonder what will happen if I use those threads....?" For the last three days I've been on a stand at New Street Station, Birmingham (UK), promoting the Great Little Trains of Wales; we had a seaside theme (complete with beach (breakdown last night included shovelling up the sand to go back to the beach it came from!) We were asked to take sunhats to wear - so out came mine with the lace (fish outlined by orange gimps set on blue Torchon ground) hatband I designed for a Lace Guild publication (the Penguin Pattern Book, which was a children's story book by Deborah Robinson, illustrated with lace patterns; now long out of print). Watching people passing through the station showed just how much lace is in fashion again now - from collars to skirts and dresses, and facinators - a modern fashion accessory. Wouldn't life be boring if we all did the same thing? Jane Partridge ________________________________________ Alex said: It is time for those of us who enjoy making and designing lace in the traditional manner to stand up and say we should also have recognition for our art and craft, and traditional lacemakers usually have a greater understanding of the craft. If you go to any Lace Day the number of traditional lacemakers far outweighs the number of modernists. I am currently running three classes and have only two interested in designing. So why the emphasis on modern lace? - To unsubscribe send email to majord...@arachne.com containing the line: unsubscribe lace y...@address.here. For help, write to arachne.modera...@gmail.com. Photo site: http://www.flickr.com/photos/lacemaker/sets/
