This exhibition is co-created by Year One students (2021/22) from the department of Fashion and Textile in The Royal Academy of Art, The Hague (KABK) after attending a series of lectures examining the historical study of Fashion & Textile design from constructivistic perspectives.
This exhibition showcases a spectrum of practice-based research, ranging from imagined narratives from the past; to observations on the global cultural impact of (digital) fashion and music; to attempts in addressing gaps of knowledge and imbalances in the eco-system of fashion & textile in the past, present & future.
In order to preserve the ephemeral nature of students' explorations in art & design education setting and in the spirit of Arturo Escobar's vision on the Pluriverse, students are given the freedom to propose their topic of choice and to deepen their knowledge as independently as possible. Guidance was given only when sought. In line with retaining the integrity of students' works, no interventions were made to student' contributions in this exhibition.
Author / Curator Shanna Soh; Co-creators Riet Pedro, Emma Lobina, Carina Georgescu, Jungyun Jang, Noah Warmer, Renee Buitendlijk, Simon Veldkamp, Hiromu Takeshita, Zhenyi Zhou, Laura Garnier, Marie-Eve Verdrines, Bas Pol, Marijn Brinksma, Kim Gemmink, June Gibbs.
The idea of our assignment is to take the New Romantic movement as a starting point to do some research, to collect some items from our own closet and thrift additional pieces based on our research. The goal we are aiming for is to see the audience's reactions on this unconventional way of dressing taken from the seventies into our era.
We want to see the different perspectives from different age categories. In order to achieve that we interviewed from youngsters to eldest.
The result was that their reaction was different from our expectation. We expected that they would be more in shock. But instead they were more positive and even encouraged people to dress more like this.
we were made a short exhibition on video if you want to be capable person for knowledge of lace just watch our video !
1840- the production of patterned
laces developed, which could
imitate perfectly the handmade
lace has decorative purpose and it
s an intereorking of free threads-
therefore forming holes
handmade lace types: 1. needle
lace - is made with single thread
and one needle
2. bobbin lace- is made by
manipulating multiple threads,
wound on bobbins
Machine made laces emerged
during the Industrial Revolution,
end of 18th century
• The first machine made
consisted of a machine produced
net, made out of one continuous
thread, where the pattern was
applied by hand
For me the most interesting part of maltese lace is the craft and how it’s implemented now, even though they are used such old techniques. It’s one of Malta’s oldest traditions. During the 1600s, it was the fashion for noblemen and the clergy to wear clothing decorated with handcrafted bobbin lace. Maltese women and children learned the art of lace making so that they could sell their crafts to raise money for their families, and lacemaking was even taught in one orphanage in Gozo to help raise funds and boost popularity of lace products. So basically this was the centre were lace making was born and then had influenced a lot of cultures like: Arabic, British, French, Italian, Spanish.
I didn't really look into the history of maltese lace before, but now i found out there is a lot more to it and i can use lace in my work in a more contemporary way. This has been really useful in opening my vision about lace in general and what techniques have been used for centuries.
All the information from this book (source)
Maltese Lace: History And Mystery: Four Centuries of Bizzilla
by Consiglia Azzopardi
Consiglia Azzopardi is making a substantive contribution to chronicling the history and technique of Maltese Lace from its origins to the present day, worthy of her long scholarly commitment to the topic. Maltese Lace, History & Mystery: Four Centuries of Bizzilla is ultimately a labour of love. It is put forth by a lace maker who not only practises the art herself but also actively seeks out others to encourage and promote the tradition. For Consiglia, lace-making is a passion as much as a trade.
Lace-making is a deeply embedded part of Maltese culture people take great pride in. It is rooted in an industry that has evolved over a dozen generations and occupied many thousands of women over the years. This is ultimately their story recounted in the context of the people and events that brought them together, the ups and downs of the lace market, and the many outside influences that further define Maltese history.
Beautifully illustrated, meticulously documented, and written in a nuanced style that honours both the peasant artisans and their more affluent patrons, Maltese Lace: History and Mystery: Four Centries of Bizzilla is sure to appeal to all those who truly appreciate how the art of lace-making can bring people together across continents and across the centuries.