A new try of reticello with slighly bigger squares of around 2 cm each. Just about the right size for my son’s historic collar.
Uusia reticello kokeiluja vähän isommilla ruuduilla. Reilun 2 cm kokoisina ne ovat suunnilleen sopivia historialliseen kaulukseen jota suunnittelen pojalleni.
Here’s my sampler onto which I’m outlining a little square doily next. The unevenness of the linen thread is causing some problems, but maybe it will just be part of the attraction?! I am slowly getting more familiar with the work – even with the venetian picots…
Tässä mallikappaleeni johon hahmottelen seuraavaksi pienen liinan kulmia. Pellavalangan epätasaisuus aiheuttaa välillä ongelmia, mutta ehkä se täytyy hyväksyä osaksi työn viehätystä?! Pikkuhiljaa alkaa erilaisten kuvioiden, ja jopa nyppyjen tekeminen sujua…
Some new linen pillowcases are also getting decorated.
Uudet pellavaiset tyynyliinat saavat myös kirjaillut koristeet.
I’ve started my reticello practice with the help of the new books I ordered from Italy. The author Giuliana Buonpadre is a distinguished teacher and reviver of old needlework techniques. She has a beautiful website called Filofilò.
Tilasin Italiasta käsityökirjoja niiden kirjoittajan Giuliana Buonpadren nettisivujen kautta. Hän on arvostettu vanhojen käsityötekniikoiden opettaja ja uudistaja. Reticello-kirjan opatuksella pääsin hyvin jyvälle tämän vanhan revinnäistekniikan saloista.
My first attempt below looks quite clumsy (at least blown up like this!) You need good lighting and a good pair of glasses/eyes. The linen I’m using here is a little too fine, about 20 threads to the cm instead of the 15 Giuliana Buonpadre suggests. You can see I’ve struggled with the thread count etc.
The light blue sewing tread is an Anchor Mercer Crochet 80 / Fil à Dentelles cotton, of which I bought 15 balls from a sale! Maybe to be used for some Hardanger later on since I bought that book too 🙂
The next try was with a linen thread since I’m planning to make a 17th century style collar with this technique and the historical pieces probably would have been made with linen. This finnish bobbin lace thread worked pretty well (Pella nypläyslanka 60×3), quite even for a linen and not getting muddled too easily.
Here are the preparatory stages: counting and removing the guide threads, whip stitching the edge, four sided stitch to reinforce, and weave stitch to cover the bars that remain.
On with the needle lace to fill the squares. For my collar I’ll need bigger holes! I’ve also ordered some mercerized linen thread – we’ll see how that works…
The cuffs for my son’s 17th century outfit are ready. That was the easy part. Next I’ll be making him a reticello collar – a huge project compared to these cuffs!
The cuffs are made of thin linen. First I finished the edges with a rolled hem and then sewed the needle lace straight onto the hem. Little pleats mold the cuffs into shape and with the added wristband the cuffs are attached to the sleeves of a jacket. I’ll make a post about the technique for the needle lace later (click here to see the post) . Quite easy 😉
Here are some pictures of cuffs of that era. On the left you can also see an example of the kind of collar I’ll be tackling next!
Finished just in time for my son’s trip to “the Battle for Grolle” ! 😉
I am absolutely fascinated by lace! After acquiring some more books on the subject, I had to try my hand at reticello, a needle lace that dates back to the 16th century. You know – huge, opulent collars of kings and queens of that era, Elisabeth I for example – that’s reticello! The original reticello was cutwork made onto a woven linen fabric by pulling most of the threads out. The resulting squares were filled with tiny geometric designs. What I practiced is an evolved version where the lace is made onto a pattern that is later removed. Punto in aria or “stitch in the air” it’s called.
These are some of the books I bought this past summer. The first two in France. I couldn’t resist the beautiful Japanese book on Shetland shawls. The other one is a good guide to needle lace, describing a technique much like the one I used for my little square sampler. The finnish books are from a fabulous lace exhibition at the Salo Art Museum. The top one is the exhibition catalogue, with a concise history of lace and some wonderful pictures of the many different styles of lace they had on display. The exhibit also showed some contemporary lace art eg. by a Finnish lace artist Tarmo Thorström.
The start of my work and some antique pieces of reticello from the exhibition catalog. The pattern I used is from an antique DMC Library book “NEEDLE-MADE LACES 1st Series”, Th. de Dillmont editor, Mulhouse.
The base has three layers. A double thickness of plain cotton sheeting, a piece of paper with the pattern drawn onto it and a green plastic film. These are all first stitched together. Then supporting stitches are made through which the basic threads of the actual lace are sewn. These threads are covered with buttonhole stitches or just overcasting. When the piece is ready the supporting stitches are cut from the underside and removed. I’m sure all the stitches are not supposed to be worked like this. My work has way too many supporting stitches for example, and one big flaw is the tension which is too tight along the outer edge. I need to find another book for reference… And the right thread for this work.
My husband often asks me what am I making. Sometimes I have no answer except “well… lace”. But now I do have an actual project in mind that this little square was good practice for: in my fervour I promised my son to try and make some cuffs and a collar in reticello and punto in aria for his historical costume. We shall see what year I’ll manage to finish them!
If you want to find out more about this subject go and have a look at Jeanine’s fantastic blog Italian Needlework . She really has put an amazing amount of work into her research!