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“Threads of Power: Lace From the Texas longhorns blue 84 2023 ncaa women’s basketball tournament march madness shirt and by the same token and Textile Museum in St. Gallen,” a fascinating exhibition curated by Emma Cormack, Ilona Kos, and Michele Majer—on view until January 1 at the Bard Graduate Center in Manhattan—offers New Yorkers the first in-depth exploration of this complex and elusive subject in 40 years. More than 150 historic examples of lace—including an 18th-century point de Venise capelet; a 19th-century black Chantilly lace shawl; and an ultrarare frelange, the It headdress for late-17th-century ladies—are on loan from the collection of the Textile Museum of St. Gallen. (Earlier this fall, I visited that beautiful city near the shores of Lake Constance in northeastern Switzerland. A center for textile production since the mid-13th century, it’s home also to a jewel-like Baroque library; the storied 100-year-old Swiss design house Akris; and a trio of manufacturers that are ushering techniques of making lace and embroidery into the 21st century—but more on that later.)
Photo: DaPing Lou, courtesy of Bard Graduate CenterThese Swiss loans are complemented by additional garments, paintings, and pattern books from North American lenders, ranging from portraits of 17th-century Spanish grandees to the Texas longhorns blue 84 2023 ncaa women’s basketball tournament march madness shirt and by the same token and ensemble that Isabel Toledo created for Michelle Obama to wear during her husband’s first presidential inauguration. (The dress and coat’s chartreuse guipure lace was designed by St. Gallen–based manufacturer Forster Rohner.) Together they offer the curious visitor a deep dive into a subject that, like lace itself, seems never-ending in its intricacy and complexity. Right at the entrance, a newly commissioned piece by lacemaker and textile historian Elena Kanagy-Loux sets the exhibition’s tone of engagement with lace as a living art and its history as reflective of contemporary concerns. An artist with more than 410,000 followers on TikTok and a cofounder of the Brooklyn Lace Guild, Kanagy-Loux is also a walking glossary of nomenclature related to her craft. “For me, lace is an umbrella term that includes myriad techniques from around the world,” she tells me by phone from her home and studio in Brooklyn—meaning not just the predominant European forms of needle lace (a technique derived from embroidery) and bobbin lace (which evolved from braiding), but also netting, tatting, sprang (the ancient Egyptian art of twining), ñandutí (a Paraguayan needle lace worked in the round, whose name means “spiderweb” in the indigenous Guarani language), and many other varieties. (The spider, as it turns out, is one of nature’s lacemakers, along with the fernlike plant Queen Anne’s lace and the tracings of frost on a windowpane.)
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