The concept of the Exhibition

The basic idea of the exhibition consists of presenting in public 84 artistic cushions from the “Is & Zhu Stathoyiannis collection” and highlighting the thematic dialoque developed between the digital artistic drawing by Ioannis Stathoyiannis (fabric printed) and the artworks of the visual artists participating in the exhibition.

The place of the Exhibition

It´s also worth noticing that experts and public are called to face a new challenge, since Ioannis Stathoyiannis´s exhibition hosted in one by definition non-museum use space, the Olympic Hotel. This situation highlights one of the groundbreaking trends of Postmodernism, and in particular, that which mentions signs-spaces of the wider urban environment as possible places of presentation cultural material, thus creating conditions of collective historical memory.

The Exhibition and the Artist

Memories, feelings and testimonies compose the identity of the ‘Is & Zhu Stathoyiannis pillows. The digital artistic drawing of Ioannis Stathoyiannis (fabric printed) escapes the decorative spirit of applied arts, or even the spirit of social census or distancing. The digital drawing of Stathoyiannis, endowed with an experiential. Symbolic and conceptual dimension, takes art to the level of concepts, ideas and even emotions that leave their material imprint on the fabric, used as a kind of canvas and a field of artistic expression.
Based on his personal interest in fabrics and textiles, his undergraduate and postgraduate studies in Design, Fine and Digital Arts) Universities of Central Lancashire & Wolver Hampton) guided by his memories and travel experiences in Europe, Asia, and America, thanks to his teaching experience in China (Raffles Education Corp. Singapore) and his depth knowledge of Chinese culture and mythology, Stathoyiannis “deals” in his artworks with concepts, such as Place, Presence, Being, Identity, Crisis by expressing his thoughts, and concerns for social issues such as racism, immigration,etc. In his digital drawing, nature plays a symbolic role. There are many references to the Cretan mythology symbols.

The Collaboration with the Artists

In the framework of Ioannis Stathoyiannis´s personal exhibition an open invitation was sent to artists desiring to participate, using the fabric as the basic material of their artworks. The artists were thus invited to a conceptual interaction and to a synergy of high emotional intensity with Stathoyiannis´s digital drawing. In this exhibition, the particularity of expression and the variety of genres have been sought, according to the common objective of composing and exhibiting an artistic universe in dialogue. Works of painting and sculpture, artistic installations and constructions, animated sketches, works that combine textiles, drawing printed on fabric, fashion design, art photography, and poems make up an artistic universe of 21 plus 8 artists in conversation, dividing to four different thematic units in the exhibition.

Written by Argyro Petraki (FORTH), photography and video by Theodoros Evdemon (FORTH)

The team of Mingei Project visited the local industry and interviewed the owner Mrs. Karli Irene. In the beginning, the industry started to create fine hand-woven textiles always on woven looms. Concurrently, they constructed wooden looms, which they sold. Thus, all the cottage industries were started by them. Nowadays, the owner still maintains this craftsmanship, putting warps and selling threads to few weavers that still exist.

Since then, times have changed over the years, the development has made them study the market requirements and needs, and namely what is in high demand and what is more commercial in order to survive and to be competitive in the market. Consequently, they have started to create a variety of products that can be used by modern people, adjusting to their everyday needs. Specifically, at the moment they are producing wallets, purses, mats, aprons, and so on. All the products are made of 100 percent cotton and hand woven on the loom in a traditional way, contributing both to the preservation of this traditional job and to the strengthening of the local economy. Furthermore, at the instigation of the development association of women entrepreneurs of Crete, which often organizes exhibitions,the art of handicrafts is promoted. The industry also undertakes the equipment of hotels, weaving carpets, pillows, framed patterns and various other things in different patterns and colors, since they collaborate with interior designers.

To recapitulate, Mrs Irene Karli has succeeded in preserving a traditional job, which mainly flourished in the past, while at the same time she has tried to adjust it to the needs and requirements of modern societies, intertwining tradition with fashion.

Written by Argyro Petraki (FORTH), photography and video by Nikitas Michalakis (FORTH)

India has a long weaving tradition. Although the bulk of the country’s textile industry has been industrialised and moved to cities, the knowledge and skill of handweaving still exists in rural areas. Safeguarding this Heritage Craft takes a different form in India than it might in some European countries, for example, as a result of different heritage traditions, and unique challenges and opportunities that exist here. We spoke with Sumit Dang, director of Meraki Signature Private Limited, and Suket Dhir, fashion designer. Dang has been involved in various projects that safeguard weaving heritage through commercial practice. Dhir creates high-end menswear and womenswear designs, using primarily handwoven fabrics, sourced from and created in collaboration with expert weavers living in rural communities.

Same challenges, different contexts

Both Europe and India face the same biggest challenge in terms of Heritage Crafts. The numbers of Heritage Craft practitioners are dwindling, and the population is aging, as young people move to cities or find employment elsewhere. The big difference between Europe and India, however, is the context within which this challenge takes place. In India, this context consists of more significant rural isolation, greater socio-economic differences and cultural differences between rural communities and city dwellers. Where in Europe often local communities can maintain a craft as a hobby, or for example develop a heritage site that can facilitate the safeguarding of a Heritage Craft, this is not an option in most rural communities in India due to poverty, a lack of infrastructure and other socio-political structures. 

The solution surfacing in India is also different from that in most of Europe; it is commercial. For the case study at hand, ensuring weavers receive fair and regular pay for their heritage products is the best way to safeguard this particular Heritage Craft. A good example of a company working in this model is Jaipur Rugs, a company specialising in producing heritage rugs for a global market. This family business works closely with weaving communities and international designers. The needs and traditions of rural communities have shaped the company’s business model. 

Traditionally, rural weavers learn the craft within their community, often from a very young age. Weaving is generally one of various means of income, with agricultural work often being another important source of food and income for a family. Men and women weave at home alongside their other duties and children learn in this family context. However, contemporary child labour laws and the country’s experiences regarding this issue hinder this traditional way of learning how to weave. Children are not allowed to help out in the family business. As a result, the way families hand down knowledge and skills is interrupted. 

A cottage industry for a global market

Dang identifies two main requirements with regards to safeguarding hand weaving. First, hand weaving needs to provide attractive job prospects. Secondly, there needs to be a robust market for the products that are being produced. Needless to say, these two requirements influence each other. Of course, many Heritage Crafts have developed as a means of creating an income, but in the European heritage field this commercial side of Heritage Craft is sometimes problematised or even ignored. Taking a commercial approach, while respecting the heritage of a craft, can lead to different choices and solutions. 

For example, Dang emphasises the importance of focusing on those opportunities that are likely to yield commercial success. For a Heritage Craft to be monetised, it will need to be able to find a solid (international) market, as well as have a unique heritage quality. If there’s a good likelihood both can be achieved, it will be possible to gather the financial investment that is necessary to connect the producer(s) with the market. Therefore, it is important to understand the traditions and potential of the different Heritage Craft Communities. In addition, it is important to analyse the challenges they face when it comes to developing a market for their product. 

As many weavers live remotely, attention must be paid to creating infrastructures for knowledge exchange, source materials and finished products, and distributing finances. Jaipur Rugs has set up a small number of weaving hubs, where weavers can come together to weave, creating one physical space where information, materials and money can be exchanged. However, most weavers did not want to give up their traditional way of working, which traditionally is at home and planned around other activities and care responsibilities. This obviously greatly influences the infrastructure that is needed. Some weavers create their own designs, others work together with (international) designers. Designers need to understand the traditions, possibilities and boundaries of an individual weaver to create a suitable design. Weavers who work with designers can often earn more money, because they create a product that is in higher demand. When an end product is of higher quality, it often requires more time to produce, but it will also fetch a higher price.

Raising awareness

Handmade products cost more than those produced by machine and in India, where mass-produced woven products are readily available and where craft is often associated with charity, marketing Heritage Craft products can be challenging. Cutting out the ‘middleman’ or working with experienced distributors can help bring the cost down while maintaining fair wages for the weavers at the same time. However, most important, according to Dang, is to raise awareness amongst customers. Explaining the unique qualities of Heritage Craft products is key. The argument that handwoven materials are more expensive will not convince customers to pay the extra price. What are they getting ‘extra’ when they buy Heritage Craft textiles? 

In marketing Heritage Crafts, Dang suggests focusing on tradition, the human touch, the physical quality, the story behind the product and the fact it cannot be made by machine. Neither producers nor designers are necessarily good at building a brand. Therefore, it is important to invest in gaining this skill. A successful brand is not carried by one or two people, but exists within an ecosystem of people with different practical and commercial skills. It is crucial that the Heritage Craft Community is part of this ecosystem. Jaipur Rugs invests in training local community members and grassroots leaders to achieve this. Finally, creating a strong online presence, including background stories, images and videos can help people to familiarise potential customers with a brand.

Designing with handwoven fabrics

Suket Dhir sources all his textiles from India and 70% of the textiles he uses are woven on handlooms. This has a direct impact on the price of his products. His designs are high-end, but also designed to be worn for a lifetime, to be heirlooms and handed down. Or, as his grandmother used to say: “Buy little, buy good.” For this reason, Dhir focuses on creating designs that have personality, but can be worn to various occasions and are made to last. A certain romanticism can come with working with handwoven materials, but in order to build a successful business, pragmatism is also important. Therefore, Dhir focuses particularly on using handwoven materials when they can only be made using a handloom. Fabrics that can be produced by machines should continue to be made by machines. Handlooms would not be able to meet global demands and focusing on the techniques that are unique to handlooms helps preserve them.

The risk of guilt

When working with comparatively poor rural communities, it is often easy to act on a feeling of guilt. Dhir describes how the first time he worked with weavers from West Bengal, he was so focused on giving people a fair wage, he offered double the price they were used to getting. He was advised not to do it, but felt it was the right thing to do. He was surprised to find his first shipment was late and when he went to visit the weavers to see what was causing the delay, he was met by an angry wife. Now her husband earned twice as much for the same work, he only worked for half the time, meaning his production was falling behind and he had more spare time in which he could spend his money. For the family, this was not a positive change at all. This experience was an eye opener for Dhir and since that time he has noticed that guilt is often also used in sales further down the line. Paying a fair price for a product is often framed as ‘charity’. Many campaigns for fair fashion focus on the people making the clothes, and play into a feeling of guilt with the buyer: The poor weaver deserves a fair wage. But, as Dhir puts it: “There’s no improvement to the livelihood of the person who makes your clothes just because you see a picture of them.” What’s more, this approach ignores the mastery and skill a weaver has developed. This is why Dhir believes in focusing on the quality of the craft and creating high-end made-to-last pieces with high quality fabrics.

Many rural communities create their own distinctive weaves that can only be created on a handloom. Dhir sees potential to elevate these weaves and give them a cult-like status. Just like, for example, Japanese samurai swords have gained a recognisable status, resulting in people being willing to spend the money for an original, handmade sword. This is, as Dhir sees it, another way of building a ‘brand’. How can one present their traditional craft in a way that translates its traditional value into monetary value? 

At the same time, it is important to contemporise fabrics. Traditional weaving methods can be maintained while using more contemporary colours, for example. Dhir advocates celebrating the craft, the making, which he sees as distinctly different from the often-used trope of empathy, especially in the context of charity. The people making the products will come and go, but the craft, the art, will remain as long as it is passed down. Dhir believes focusing on the inherent quality of the craft can provide better chances of gaining a fair price for a product. If the craft itself is elevated to a cult-like status, there will always be people interested in learning it. The craft would not have to rely on children following in their parents’ footsteps, something that will inevitably become rarer over time. 

His biggest challenge now is to reach a global audience that might be interested in his designs. Where cheaper brands can rely more on online sales, handwoven materials need to be touched to convey their quality and value. There is an untapped potential in the longstanding heritage of handweaving in India which could fuel the birth of true luxury brands.

Based on an interview with Sumit Dang, director of Meraki Signature Private Limited, conducted on 30 September 2020, and Suket Dhir, fashion designer and winner of the   International Woolmark Prize 2015-16 on 12 April 2021.

The team of Mingei project visited the mountainous village Anogeia, located at the foot of Psiloritis Mountain on Crete Island, in order to meet a shoemaker called Nikolaos Fasoulas. Nikolaos Fasoulas has been involved in the construction of handmade traditional boots since 1949 until today, at the age of 91 years old. He has been mainly occupied with the creation of traditional, handmade, leather boots known as “Stivania” in the Cretan dialect. That was the first one on Crete, who constructed boots with only one seam, called in Greek “Monokommato”, which means seamless.

The name “Stivania” possibly comes from the Italian word “Stivale” that means boot, something that may be true, as the island was for many years under the Venetian occupation. Stivania are one of the most typical parts of the traditional Cretan costume and a Cretan man’s main pair of shoes, who used to wear them not only in agricultural activities, but also in formal occasions. They are made on the leg of the “client”, as the shoemaker takes measures for each one, so they are tailor made exactly to any peculiarities of the foot. Specifically, they are sewed by hand and at least two days are required for them to be constructed.

There are two different kinds of boots, which are differently constructed depending on the situation in which they are to be worn. First, the shepherds’ boots are called “Vaketa” because they are made of calfskin. These boots have toughened soles and are made οf hard, real leather and rubber so that they are suitable to be worn by shepherds on the mountain of Psiloritis and to protect them against soil irregularities and weather conditions. To exemplify, the shepherds of the area graze their flocks of sheep on the mountain Psiloritis, where intense weather conditions dominate and therefore they have to protect their feet from the rain and snow.

Another category of boots, are those that are suitable for formal occasions, such as weddings and traditional festivals or for everyday life activities. These boots are also made of real leather but they have thinner soles and often do they carry a perforated pattern. Additionally, they are offered in three different colours; black, white, and brown, although the most common of these is black.

In the past, one of the most widespread professions was that of the shoemaker, which was practiced for many years in the form of a cottage industry. Nowadays, unfortunately, this traditional job tends to disappear, as the demand of handmade boots has decreased significantly. There are several factors, which contribute to this phenomenon, the most important of which is the incredibly rapid development of technology. Specifically, in modern technologically developed societies, machinery has replaced labor and manufactured products. Due to the low production cost and the mass availability in the markets, standard products are more competitive than handmade ones, the manufacturing of which requires more time, effort and money. However, in cases where their construction continues, both the knowledge and the taste of the past have been preserved, conveying them to the next generation and promising that these handmade boots will last a lifetime!

Written by Argyro Petraki (FORTH), photography and video by Nikitas Michalakis (FORTH)

In the modern technologically dominated world, traditional arts and professions gradually tend to become extinct, as the vast majority of people prefer to purchase standardized goods offered at low prices rather than handmade ones. In contrast to this tendency, fortunately there are people and organizations that try to preserve the Cultural Heritage artifacts and the way in which they are created, making them accessible to the next generation. One such typical example is the weaving workshop “Aretousa” situated near Archanes Village on the island of Crete, Greece.

History of the workshop

The weaving workshop “Aretousa” was founded on the occasion of some women’s participation in a weaving seminar provided by the Municipality. After the seminar had been completed, some women, who wanted to move forward and utilize the acquired knowledge, came up with the idea to set up a Social Cooperative Enterprise and create hand woven textiles using traditional looms. The start of the workshop was difficult enough for them, since they had to look for traditional, old looms in many storage rooms, an effort that required a huge amount of time because most of them had been burnt or thrown away over the course of time. At last, having found enough looms, they decided to set them up again, giving them life and making use of them in order for the traditional weaving to be revived.

Products

At the instigation of the Development Association of Women Entrepreneurs of Crete and having studied the market requirements and needs, namely what is in high demand and is more commercial, they tried to produce weaving textiles in more modern designs so that they can be used in today’s modern societies. Using recycled clothes as the main raw material and preserving the tradition and the way our grandmothers used to weave, they construct more modern artifacts, such as laptop bags, mats, tablecloths, place mats, purses and various others that can be held by a modern woman or can be laid in modern homes. Some innovations in the field of weaving are also applied in the workshop; women are able to weave both double-sided carpets, which have different colours on the top and at the bottom, and double-width carpets, which means that a carpet of 80 cm can become 1.60 cm.

Mrs Andie, the cooperator of “Aretousa” Workshop

“Aretousa” Workshop collaborates with the craft instructor Mrs. Andie from the Netherlands, who teaches the women in various techniques of her homeland. As Mrs. Andie says: “What I admire is the way women here use the old looms and make textiles of such quality that does not exist in the Netherlands. The only thing that makes me sad is that the original, old wool we have at our disposal decreases. Thus, I would like to make wool from Cretan sheep and prepare it for the loom. Therefore, I try to wrap wool and I discovered that the Cretan one is very useful. Furthermore, it is crucial people be capable of distinguishing the good from the bad one. Unfortunately, the technical knowledge has died off over the years and now I am trying to discover it again.”

To recapitulate, the Social Cooperative Enterprise founded by women aware of the traditional way of weaving succeeded in preserving a traditional job, which mainly flourished in the past, by adjusting it to the needs and requirements of modern societies, intertwining tradition with fashion.

Written by Argyro Petraki (FORTH), photography and video by Nikitas Michalakis (FORTH)

The Mingei team visited Axos, a mountainous Greek village located on the northern slopes of Psiloritis Mountain, known for its history and its rich tradition. There, we had the opportunity to meet and interview Nikos Manias and Niki Koutantou, who are the owners and the inspirers of a family owned workshop of carpentry. Nikos and Niki, driven by their love for authentic products and making use of the twenty-five-year experience of Nikos, took the initiative one year ago to start the construction of wooden products that could be used every day by people. They started making a rich variety of handmade, wooden handbags, and sell them to locals and tourists.

In this video, Nikos and Niki tell about their carpentry workshop. English subtitles are available in the settings, at the bottom of the screen.

Natural materials

Based on their love for authentic products Nikos and Niki decided to design and create in their workshop handmade wooden handbags. Their main goal is to make good use of natural materials, such as wood and leather in order to construct functional artifacts for both women and men. Wood is a natural material that can be easily found in the wider area of Axos Village and can come from different kind of trees for example, olive trees, cherry trees, beech trees and oak trees. With sensitivity and desire for a controlled exploitation of natural resources, the woodworker collects wood from dried trees and processes them in a suitable way until they take shape. In this way, they do not intervene in the environment by destroying it but on the contrary, for each dry tree a new one is planted aiming to maintain the ecosystem balance. The whole idea is based on giving life to a material that is already considered dead and converting it into a useful object.

Logos

This idea is emphasized by the brand name ‘Logos’. It stems from the Greek word «Λόγος» which includes several meanings, such as thought, speech, insight, and inspiration. Furthermore, the word ‘Logos’ consists of the English word ‘log’ and the suffix –os that is the ending of the word ‘Lagos’, the place name of the area where the workshop is situated. As the owners tell, “Logos is our face in what we do. We want to show people how we can create useful objects for our daily life from a product that exists in nature and is dead.”

Construction

The woodworker collects the trunks of the trees and cuts them by using the band saw. Afterwards, the craftsman places them into a wood fired kiln in order for the humidity to be eliminated and then he cuts the wood again with the band saw to create thin sheets of wood, on which he draws the patterns and then start constructing the handbags.  A large amount of designs can be created, such as handbags, briefcases and bags for portable computers, some of which are made only from wood and others combine wood and colorful real leathers.  Besides the offered variety, every handbag can be custom made to meet your special wishes and an effort of four to five working days is required to create this final wooden unique product of high construction and aesthetics.

The video above shows a 3D reconstruction of one of the handmade handbags of Nikos Manias, made from natural materials, such as olive wood and real leather.

Revival of crafts

The construction of handmade bags gives visitors the opportunity to see up close the process of processing natural materials, such as wood from trees that thrive in the surrounding area. The revival and preservation of old traditional professions contributes to the economy of the place where they flourish, boosting trade and offering new jobs, as well as to the touristic domain.

At the same time, it allows scientists in general – and us from the Mingei project – to study the manners and customs of the area, as manifested through the objects and the process of their construction, making both tangible and intangible aspects of Heritage Culture accessible in this way.

Written by Argyro Petraki (FORTH), photography and video by Nikitas Michalakis (FORTH)

When Thibaut Nussbaumer fell from a horse in his teenage years, he had no idea at the time that it would set him on a path to becoming a distinguished member of an exciting new wave of artists working in one of the more elusive craft-making niches: glassblowing. His arm broken from the fall, Thibaut received doctor’s orders to employ his hands with some tactile tasks in the service of regaining his dexterity. As well as practising piano, one of his tasks was learning to work with clay, which instilled the spark of a love in him of working with tangible crafts. Waag’s Harry Reddick spoke to Nussbaumer, founder of glass atelier TiPii in Toulouse, about his love for crafts and the importance of passing on his knowledge and skills.

The magic of glass

After his fall from a horse, during the end of his schooling years, Nussbaumer’s class was taken to a one-week glass workshop at CIAV. This is where the spark for crafts blossomed into a more consuming passion. “We were playing little designers,” he tells. “We were making sketches, which the craftsmen realised. They were bringing our sketches to life. This was extremely exciting [to me] because I got bored with the theoretical stuff we were doing before that point. I was missing something real. And glassblowing was pretty real.”

Having reached a crossroads upon finishing his secondary education, Thibaut pursued that creation of something real in glassblowing. He signed up at CERFAV, in Vannes-le-Châtel; one of the three glassblowing educational institutions that exist in France. His four-year learning there was buttressed with a practical and theoretical internship at the Baccarat crystal factory near Nancy.

In these educational vocations, he managed to tap into a rich vein of knowledge and tradition of glass-blowing in France, which in itself is a singular strand of a much more ancient and globally-utilised craft, with evidence abounding of decorative glass from millennia past. For Thibaut, the way that this tradition has evolved and adapted to different historical and locational contexts is part of its magic.

“There are a few different aesthetic ways to work with glass. There is a Scandinavian wave, a Venetian style, and different aesthetic in the Czech Republic too. I travelled and grabbed a lot of details of how they are working, how they are using tools and how they are creating and working with their inspirations. Glassblowing is extremely playful and really sensual, with soft curves… it’s really subtle and soft.”

Learning curve

Glassblowing itself requires a furnace in order to melt glass, with which the glassblower uses a blowpipe to shape the molten glass. Thibaut spoke of some of the perceived barriers to entry into the field of glassblowing being the cost, including the cost of the furnace and the natural gas to continually heat it. However, the craft in itself can be enjoyed by people completely new to it, in much the same way as Thibaut first experienced in his youth, provided there is an expert and the materials to facilitate the process.

Past this initial entry point however, the craft requires a much more sustained and detailed approach to both learning technique and practising that dexterity. Thibaut said he wasn’t happy with what he’d made for his first five years of learning. Having put in the years working on his technical prowess, Thibaut is now able to spend more time on the ‘poetry and the soul’ inherent in the pieces rendered from the glassblowing process.

Blow It Yourself

In an attempt to bring both the romantic inspiration of glass and its technical tradition to a wider audience beyond the niche of the academic, Thibaut has founded TiPii Atelier, a glass workshop in Toulouse, together with Patricia Motte, a friend from CERFAV. One of the unusual features of the TiPii Atelier is this focus on making the craft more accessible. He even runs BIY (Blow It Yourself) sessions offering basic glassblowing lessons where their expertise helps the attendees (both children and adults) create simple blown glass items. In this way, Thibaut hopes to address the lack of knowledge about glassblowing in France, both in terms of the required resources and the methodology underpinning it, with the latter being something that teaching allowed him to personally understand on a ‘deeper level’.

“Glassblowing is extremely rare, and I felt I had to save and pass on this precious knowledge,” Thibaut explains. “This workshop at TiPii is the only one in 100 kilometers around, so my idea was to bring glasswork into an urban frame. That’s something that is really new, as small workshops involve people and help show people how it’s made. Quite a lot of people were searching to find out how to get involved in glasswork, and this is something we can now show them how to do together. There is a soul in such things, and everybody can feel it, you just have to offer them the opportunity to understand it and to see it. This is my job, to share it with as many people as I can.”

Many of the children who came along to these workshops ended up returning on a monthly basis, and have since become familiar with the names of the tools and techniques, and have ended up passing on word of their experience to other children in school or in their social life. In such a way, the same spark that encouraged Thibaut to return to the life of craft as a youth is being spread to a new generation, simultaneously returning the craft of glassblowing to the wider community.

Thibaut found that he took the art of working glass into his identity. “It is part of me, glass belongs to my life now.” Perhaps some of these children who were given their first taste of the beauty and the intricacies of glassblowing will take it with them into their life, becoming part of the world of heritage that glass represents.

Written by Harry Reddick (Waag)

Limerick Lace is an active community of local lace makers, the Limerick Museum and Archives and local educational institutions in Ireland. The community is an intriguing example of how traditional crafts are kept alive and relevant. Waag’s Dick van Dijk  spoke to Gabriela Avram, lace making enthusiast and lecturer in Digital Media and Interaction Design in the Department of Computer Science and Information Systems of the university of Limerick. What can we learn from the Limerick Lace project?

Lace making

Limerick lace is a hybrid lace made on a machine made net base. It is a ‘mixed lace’ rather than a ‘true lace’, which would be entirely hand made. Though Ireland has around 7 or 8 types of lace, Limerick lace is the most famous of all Irish laces. It has been worn by thousands of women, including Queen Victoria, American First Lady Edith Roosevelt and Countess Markievicz.

Limerick lace comes in two forms:
• tambour lace, that is made by stretching a net over a frame like a tambourine and drawing threads through it with a hook;
• needlerun lace, which is made by using a needle to embroider on a net background.

As the holes of the net (called gaskets) on which you create the pattern are very small, making lace is not only about carefully looking, but it relies on muscle mind and practice as well. There are 47 distinct stitches in Limerick Lace. The first steps of lace making are explained here.

Made in Limerick

The recent revival of lace making started in 2014 when Limerick was cultural capital of Ireland and several ‘Made in Limerick’ projects were funded by the Irish government, Limerick Lace being one of them. Its main objectives were to design and create an exhibition of Limerick Lace for the Limerick Museum, and to produce a book on the history of Limerick Lace.

The Limerick Museum and Archives host a valuable collection of local lace, partly ecclesiastic, partly domestic (dollies, aprons, christening robes). But before 2014, there were only two cabinets in the museum displaying lace.

One of the locals who got involved in the Limerick Lace project is Gabriela Avram. She joined the project out of personal interest in civic engagement and the potential link with modern technologies, such as augmenting lace with digital technology and creating digital tools to support lace makers.

Gabriela Avram was commissioned to build an interactive installation for the 2014 exhibition, Amazing Lace. Together with interaction design master student Suzanna Melinn and the local community they co-designed the installation Enlaced, consisting of an artificial leather laser cut front dress on a mannequin, augmented with lace pieces contributed by various local community members mounted on the sleeves, including NFC tags allowing the visitors to identify each maker.

Additionally, the exhibition presented instructions for visitors on how to make lace and try lace making out themselves. Later on, a Limerick Lace starter kit was constructed and made available through Etsy. It is hard for novices to get access to the materials needed, so the kit is an important step in making the craft more accessible.

Friends of Lace

In the years that followed, the activities to revive the lace community continued. The Limerick Lace project encouraged locals to bring out their own lace pieces to show and discuss, in a series of events titled Bring Out Your Lace. In the local Fablab, several local artists and makers started experimenting with lace making through other means than textiles, such as paper, 3D printers and laser cutters.

In 2016, Limerick Museum and Archives, in collaboration with the Limerick School of Art and Design organised a festival titled Hybrid: the identity of liminal lace, addressing the role of lace and its social-economic history. The festival included several exhibitions and lace-making workshops, as well as a conference.

The Florence Vere O’Brien lace drawing competition, initiated in 2015, invited art students to come up with new designs for Limerick lace, and the submissions went beyond any expectations, encouraging a potential move away from the dominant, traditional motives of flowers towards streetscapes and everyday objects.

A local group of lace enthusiasts formed in 2017 and became known as the Friends of Lace. They became more structurally involved to help to conserve and preserve artefacts, for example by repacking the lace in storage at the Museum following strict conservation rules, catalogue lace items, create teaching resources and support novel interpretations and uses of Limerick lace.
The revival made them visible as an active community group, which led to other groups following their example. In July 2019, Limerick lace was added to the National Inventory of Intangible Heritage.

Embracing new possibilities

Gabriela sees her role as attempting to bridge a gap between a valued traditional craft, and the opportunities offered by modern digital technologies for its preservation, documentation, further development and outreach.

One of Gabriela’s findings in liaising with art students is that new audiences lack dexterity, they don’t know how to use the needle – as they are mostly used to keyboard and mouse. In learning the craft trying things out is necessary, including the nuisance of undoing what you have already created, and starting over.

By now, the community’s activities also target tourism, through information leaflets in hotels, workshops for tourists, which especially receive high interest from American tourists. Apart from their own website and social media channels, the Friends of Lace are working towards an all Irish laces website, dreaming of a Limerick lace study centre (modelled after the one in Sydney) and potentially a free online lace images repository, created and edited by volunteers around the world.

Gabriela Avram is Lecturer in Digital Media and Interaction Design in the Department of Computer Science and Information Systems of the University of Limerick, Ireland, and a senior member of the Interaction Design Centre. Her current research focuses on sustainable urban development, collaborative economy and the role of technology in supporting civic engagement of local communities.

Written by Dick van Dijk from Waag

References

The artist Eirini Linardaki creates artworks using a variety of textiles coming from many places throughout the world. Each of these pieces carries its own story and at the same time, reveals the history, the way of thinking and the experiences of people who used it, in simple words what we now call cultural heritage. Although, the interesting fact is that the cultural heritage is captured and presented as a form of art and entertainment, and is made accessible to everyone.

The team of  FORTH ( Xenophon, Nikos, and Ilia) had the opportunity to meet Eirini Linardaki on their flight to Paris in anticipation of the plenary meeting of Mingei Project, where due to the strikes that were going on at that time, they shared a cab and had the time to talk about her work. The artist informed them about the exhibition that she was commissioned to do in Heraklion, Greece, in continuation of her project in NYC and Paris. Afterwards, when the exhibition was installed, they visited it and had an interview with her. It is also worth mentioning that our team met the artist at her atelier, where in the framework of an interview, they had the opportunity to discuss about the way she creates her artworks, the source of her inspiration, and the importance of children’s participation in her projects.

The artist

Eirini Linardaki was born in Athens and studied art in France, where she lives for two decades. She lives and works in France, in the United States, and on the island of Crete. The artist deliberately creates happy images and colorful “bursts” of enjoyment and energy with children sharing their daily lives, since she thinks that childhood is the place from where all we come.

She created public art in New York, Paris, Athens and Heraklion and she was commissioned for several public art installations by the NYC Mayor’s office for climate change, the NYC Parks and the NYC DOT. Her public installations are currently on view in Heraklion, Athens, Newark, NJ, Queens, and Brooklyn, NY. She often works in collaboration with communities and schools to develop her installations. In her latest body of works she uses archival material and Wikileaks footage in order to incorporate conflict imagery in her discourse.

The inspiration of the artist’s project

Eirini Linardaki creates artworks using an innovative method mainly based on her childhood experience. When she was a child, she used to look at the patterns of the mosaic floor and see different shapes, such as pirate ships, battles, people and so on. The next time that she went back to the same place, she looked for the same objects but she couldn’t find them. Growing up, she left the house, but she still kept those memories of the shapes in the mosaic. Many people do exactly the same with the clouds, they observe them and can see different shapes that are not been seen by anyone else.

Eirini Linardaki, as an artist and an adult, tried to find a way to create a project that allows people to perceive who they are, which their cultural heritage is, where they come from, how they can see things, and that all these traits are interrelated. In 2019, in the framework of her project she did many workshops around the world and brought many different fabrics. Then, these colorful fabrics are cut and stuck, making magnetic shapes that will be used to create collages on large surfaces. The pieces of the fabrics come from different people and places throughout the world. Some of them originate from countries at war, such as Liberia in Africa and others from Crete, Japan, and so on. Each of these pieces carries its own story and captures the cultural heritage of a country presenting it as a form of art and entertainment.

Eirini Linardaki speaks about her art

This entire idea is based on the artist’s view that the things we see depend on where we come from and all of us come from our childhood. In that way, the project allows people to interact and change what they see, making their own artwork in the museum. Due to the fact that children perceive things differently than adults, every time they look at the project, they see different figures, like a rabbit running, a dinosaur and so on. Then, follows a discussion about what each of them sees. The topics are mainly inspired from pictures that represent physical phenomena like volcanic explosions, fires, clouds, sea waves, etc.

The artist speaks about the source of her inspiration. The video is also available with English subtitles

Other exhibitions of Eirini Linardaki

Eirini Linardaki has exhibited in Boijmans Museum, Rotterdam, The Netherlands; Onassis Cultural Center, Athens, Greece; Salon de Montrouge, Paris; Fri-Art Kunsthalle, Fribourg, Switzerland; Natural History Museum, Geneva, Switzerland; Macedonian Contemporary Art Museum, Greece; Hamburg Kunsthaus, Germany, Rutgers University, New Jersey, Institut Français d’Athènes, Greece, Greek Consulate, New York, John Jay College for Criminal Justice, New York, etc.

Written by Argyro Petraki (FORTH), photography and video by Thodoris Evdaimon (FORTH)

References