My second article for Seamwork magazine was published in their December issue.
The article is a profile of Cluny Lace, the only remaining company in the UK making leaver’s lace using traditional leavers and jacquard machinery, which was also designed and built in Nottingham.
Cluny Lace is a family-run business, and has been in the family for 9 generations. Cluny are based in Ilkeston, near Nottingham where lace-making was historically the dominant industry, employing a third of the city’s working population.
Lace produced by Cluny Lace is frequently used by couture and pret-a-porter design houses, and the company regularly post examples to their Facebook page.
I was very lucky to be provided with some pieces of lace by Cluny following my visit.
Prior to constructing the camisole I dyed both the (cotton) lace and silk using madder. Before dyeing, both textiles had been pre-mordanted using the methods previously described in this post, although mordanting isn’t strictly necessary with madder. I used a madder extract purchased from Wild Colours, and also followed their instructions for using the extract (one of a number of natural dye recipes on their website). Madder extract is very easy to use; following the Wild Colours guide I simply made a paste with 10g of powdered madder and added this to a pan of water on the hob. After adding my pre-wetted textiles I raised the temperature to 60° C and kept it there for 60 minutes. I left the textiles in the pan overnight, before rinsing and then washing them in the washing machine on a low heat.
I decided to make the Savannah camisole mainly based on Sarai’s gorgeous version and because the pattern features lace.
I made up a test version in cotton before cutting into my silk and got a good fit by grading between a 0 at the bust and 2 at the waist and hips. However, I think I stretched out the neckline through handling this silk version as it ended up too wide; I addressed the issue by gathering the neckline to achieve the required width.
I sewed the sides of the cami on my machine using french-seams, but sewed everything else by hand. The only changes I made to the pattern were cutting the shoulder straps to the required length (as opposed to creating adjustable straps using bra rings and sliders) and slightly altering the application of the lace due to the width of the lace I used.
The cami is one of my #1year1outfit projects. It’s not strictly 100% British, but I’d say it is close enough;) The lace is made with Egyptian cotton and is finished (washed / dyed) in France, but is woven in the UK. I also used standard Gutterman thread to make it – I do have some Irish linen thread, but I didn’t have any in an appropriate colour. The silk is from Majestic Textiles, a silk farm in Hertfordshire. I ordered the silk direct but they mainly sell by the bolt so a shorter length incurs a cutting charge, as well as a standard UP postage charge of £11. With those costs added on the silk worked out at £17.50 per metre. Botanical Inks stock a couple of styles of silk produced by Majestic Textiles and allow online ordering.
The silk handles well during sewing and doesn’t mind being washed in the machine, but you can see it seriously holds a crease.
Cluny Lace mainly sell direct to design houses, but you can purchase small quantities of their lace via a number of UK stockists, who mainly stock lace trims. Magic Round About Vintage clearly state which of their lace trims and fabrics are produced by Cluny in the UK. Little Trimmings and The Ribbon Girl are also stockists, but their website are less clear which laces are made in the UK. You can also buy direct from Blue Riband in Kent or Kleins in London.
A few photos of the Cluny Lace factory which weren’t included in the Seamwork article are below.
P.S. let me know if you have some suggestions for great patterns for the rest of my Cluny Lace. I’m thinking the wider lace would look great on the Papercut Clover dress bust panel.