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Photo: DaPing Lou, powered by Bard Graduate Center These Swiss loans are supplemented with additional clothing, paintings and sample books from North American lenders, from portraits of Spanish grandmothers From the 17th century to the uniform that Isabel Toledo created for Michelle Obama to wear to the elections. her husband’s first presidential inauguration. (The dress and jacket’s pale green lace was designed by St. Gallen-based manufacturer Forster Rohner.) Together they offer curious guests an in-depth look at a topic, like lace itself, seems to never end in its complexity and intricacies. Right at the entrance, a new work commissioned by textile historian and lacemaker Elena Kanagy-Loux sets the tone of the exhibition for its association with lace as a living art and its history. reflect contemporary concerns. An artist with more than 410,000 followers on TikTok and a co-founder of the Brooklyn Lace Association, Kanagy-Loux is also a walking term in nomenclature related to her craft. “For me, lace is an umbrella term that encompasses a multitude of techniques from around the world,” she tells me over the phone from her home and studio in Brooklyn—not just the Needle lace (a technique derived from embroidery) predominates in Europe and coil lace (evolving from braiding), but also netting, tearing, and ripping (ancient Egyptian art of spinning) , ñandutí (a round Paraguayan needle lace, whose name means “spider web” in the native Guarani language), and many others. (As it turns out, the spider is one of nature’s creators of lace, along with the fern Queen Anne’s lace and the frost on the windowpane.)
Photo: Bruce M. White For “The Thread of Power,” Kanagy-Loux created a red silk lace collar, inspired by iconic art that appears in another piece on display: a 17th century Italian lace depicting the biblical story of the beheading of Judith, the Assyrian general Holofernes, who was besieging her city. Judith has long been celebrated as a feminist icon, and the beheading of Holofernes—depicted by the Italian Baroque painter Artemisia Gentileschi with bloody splendor in the tabloids—an assertion of her authority. women deserve our #MeToo moment. Kanagy-Loux’s blood-red collar hints at the violence behind many of the exquisite examples of women’s extraordinary ingenuity on display here. For example, is it blind to work in daylight filtered through a window or by candlelight, to create a beautiful 18th-century needle lace cup lid with threads of silk and gold that paint a picture? whirling symphony of flowers and leaves? Upstairs, in the ecclesiastical lace, a vestment consisting of sculpted white linen lace de Venise layered over pink silk is dedicated to a priest celebrating Mass on the third Sunday. fourth of Lent. Had the nuns who spent hundreds of hours shaping its dazzling wreaths ever dreamed of other worlds? What is the cost of the patience and bravery required of skilled and well-trained women, working without the protection of the guild, to sit by the fire, their feet perhaps rocking a cradle, and laboring for years to create jewels that will never be theirs to own?
Eyes blurred and heads spinning, it was a relief to arrive (third floor of the exhibition) at the end of the 19th century and invent the industrially produced “chemical lace”. City of St. Gallen played a leading role in the development of this technique, in which machine embroidery on a silk base is dipped in a chemical that dissolves the base, leaving the embroidery threads behind to form a convincing imitation of hand-crafted lace. . (Today, more eco-friendly production methods are dominating.) It is interesting to glimpse, in the last room of the exhibition and among the lace creations of the designers of the time. postwar pages—Dior, Givenchy, Yves Saint Laurent, and others—about the future of lace. For example, Hypertube laces manufactured by St. Computer generated gallen by Jakob Schlaepfer (silicon blocks arranged in archival thread patterns) was used by Yang Li, Comme des Garçons, Iris van Herpen and others. Yves Saint Laurent (designer) and Forster Rohner (fabric manufacturer), evening gown, France, Spring/Summer 1963.
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