Review:
. . It is a long time ago that haute couture lace was handmade . . this has now been reduced to a hobby . . -- Vibeke Ervo, 'OIDFA Bulletin', 3/95
. . The wealth of information about the machines and their laces is meticulously detailed and thoroughly cross-referenced . . well illustrated . . -- Kathleen Wallace, 'Guild of Needle Laces', no.38, Jan-April 1996
. . easy to read style . . it brings into focus the modern mechanical, technical and social background of machine laces . . -- Betty Franks, 'Textile Fibre Forum (Australia), no.46, 1996
. . in the rush to save the handmade lace traditions the machine were almost lost . . Pat Earnshaw's considerable research protects this tradition . . -- Gail Young, 'Canadian Lacemaker Gazette', vol.12, no.1
. . unashamedly specialist but with a visual language and clearly articulated text that make interesting reading for experts and others . . -- Dr Pat Sterry, 'Text' (Textile Society), vol.24, Winter 1996
From the Author:
For information regarding the present state of the Pusher machine lace industry I am enormously indebted to both Goutarel and Commarmond of Lyons, and also to Albert Bagué formerly of the firm of Dognin, Lyons, in particular for details of the amazing 'Temple d'Angkor' design for a 1.8 by 3.6 metre table cover, now at the Indianapolis Museum of Art. For the early history of the Raschel machine I am indebted to various University and other libraries, and for the progressive computerisation of its techniques to Karl Meyer of Obertshausen and Birkins of Borrowash. Bischoff of St Gallen and Saurer of Arbon provided valuable insights into the computerisation of Schiffli machines, and Morton Young and Borland of Newmilns (Ayrshire) an archive of early designs not only for Lace Curtain machine products but also for the Madras woven laces.
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