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The Enigmatic Power of Lace

11/30/2022

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We LOVE the Valentino "Sophisticated Evening Lace" Collection!
The intricate material evokes innocence and grandeur. Its history is just as complex.

Flouncy, transparent, stiff, protective: lace is charged with a myriad of emotions, experiences, meanings, and memories. It’s the fabric of grandmothers, but also a textile of childhood. It’s Lolita’s choice, stranded somewhere between pre-pubescence and womanhood, undeniably feminine, but also historically genderless. Most couturiers and ateliers worth their salt have incorporated the material in some way. Chanel, for example, uses it almost every season: Recently, lace showed up in both casual and formal iterations in the brand’s Resort 2023 collection; in the Spring 2023 show, the brand sent out a knockout column dress of white rose-patterned lace, punctuated by black silk bands at the chest and hips, Jazz Age and Space Age in equal parts.

For Bode designer Emily Bode Aujla, lace traverses the space between home and hand. Generally the production of lace for the body and for domestic use is carried out separately. The brand, which frequently repurposes antique textiles intended for the home into jackets, shirts, and trousers, is the perfect testing ground for this crossover. “I am drawn to domestic textiles, like lace, that were made in the home, for the home,” says Bode Aujla, “The shirts we make from lace carry that weight with them.”

For Bode Aujla, there’s an emotional bent to the adaptation: “I work with lace because as a material it holds so much sentimental value,” she says. “It was so laborious to make and the affiliation with its end use—birth, marriage, holidays, death—is significant.”

These affiliations have an economic weight as well. Before value was communicated through celebrity, it was attached to labor. That is, what required the most skill and the most time to create was the most valuable. In Europe in the 1500s, lace, then a brand new innovation, quickly gained speed as an important social signifier, because the finest, most intricate pieces of the delicate fabric could take expert hands several years to create. At the time, lace was a symbol of power and mobility on the shoulders, waists, or necks of people of note—those who could afford extravagance, those whom extravagance served.

Today, lace inspires notions closer to nostalgia and gendered delicacy than of power, domination, or wealth. We have the means to produce lace without purpose, without outsized demands on time, and without massive workforces. But for many contemporary designers, working with lace is a matter of more than just aesthetics. Bode Aujla points out it’s educational value as well: “Using lace now allows us to teach others of their historical identity,” says Bode Aujla, “Like almost forgotten hand-techniques from a small town in Spain to a Quaker lace pattern named for its use in the dining room of the White House or aboard a ship.”
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In Threads of Power, an exhibition currently on view at the Bard Graduate Center in New York City, lace is surveyed in all its dainty glory. Examples of handwork dating from the year 1580 show the development of the craft, from a long late 16th Century linen bonnet with lace inserts to Michelle Obama’s Isabel Toledo Inauguration ensemble made with asparagus-hued Forster Rohner lace. Most of the works on view were loaned from the Textilmuseum in St Gallen Switzerland, one of the richest resources for lace and lacemaking history in Europe, with an archive to rival that of the Victoria and Albert Museum in London. The exhibition is shocking in its breadth, with juicy and surprising facts about the textile’s production, history, and adaptation through time.

On weekends, a lucky visitor can glimpse women from the Brooklyn Lace Guild creating delicate, fanciful examples of both bobbin and needle lace in real time. Their mesmerizing craft feels exceptionally rare in this context, given the dwindling accessibility to new handmade lace at the scale it was once produced. But there is a corner of the fashion world still readily engaged by the centuries old craft: Designers like Akris and Simone Rocha are honoring this heritage with intricate, handmade designs.

For Rocha, lace has been a nearly ever present element in her brand. “Lace has run through different collections over the years,” she says, “the fabrication is so emotive and helps drive the necessary conversation between textile and silhouette.” In her collections, lace is often combined with eyelet and tulle, evoking at different times Elizabeth the Great, the classic goth, and Little Bo Peep. A lace ensemble opened her very first runway show for London Fashion Week in 2012: a mini skirt suit both professional in its silhouette and suggestive in its translucency.

For lace makers and historians, a contemporary understanding of lace is heavily informed by its popularity in past centuries. “Today, very few designers continue to work with handmade lace,” says Elena Kanagy-Loux, co-founder of the Brooklyn Lace Guild and a participant in the exhibition. “Those that do are often drawn to it out of a desire to support the makers of the craft.” It is that labor that brings about a material so emotionally and visually rich. Lace is like trapped air—the clouds in a textile. With it, a human can don the garb of a god, and float weightlessly in a material that carries countless hours of effort. Lace reaches both ends of the spectrum, from innocence to kink, grandeur to humble domesticity"

Lace itself is hard to define, partially due to the manifold versions it appears in throughout history. Unlike other embroideries, lace has no base fabric. Patterns are built instead with loose thread using a variety of techniques. Originally the term “lace” referred to a narrow braid, and later came to encompass all forms of non-woven, knitted, crocheted, and needle-made openwork textiles. Depictions of lace production seen often in early European treatises on the craft generally incorporated “bobbins”, a rotating cylinder, situated at the head of a firm cushion, on which a lacemaker would create her work. But “needle” lace, where the maker sews a pattern onto a backing that is later removed, is also common.

At the Bard Graduate Center, which encompasses several floors of an Upper West Side townhouse, centuries are covered in only a few thousand square feet. Each item chosen for the show is emblematic of lace’s narrative power. Around a corner in a second floor gallery is a bobbin-lace coverlet, made in Italy between 1625 and 1650. Placed within its 47 square inches are symbols relevant to the 1649 wedding of Philip IV of Spain and his niece Mariana of Austria. There are rams’ skins representing Philip’s membership in the chivalric Order of the Golden Fleece and twelve crowned double-headed eagles symbolizing Mariana’s father the Holy Roman Emperor Ferdinand III. A coat of arms is to be found as well, representing Charles V, who was an ancestor to both. On the top floor are several richly embroidered 18th Century French dresses with lace cuffs and collars, along with a bobbin lace collar and point de venise mantelet of Italian origin from around 1700. On the floors below, lace pattern books are opened to pages that show the motifs and directions of early lace makers.

“The beauty of lace is the time that's put into it,” says the artist and designer Laila Gohar, whose homeware brand, Gohar World, created with her sister, Nadia, incorporates the craft in everything from bottle aprons to bonnets for fruit. “During early COVID we couldn’t touch each other. Now, people are yearning for anything made by the hands of a human. Handmade lace is touch indirect.” With the frenzy of modern media choking our every creative impulse, touches of lace in the home or on the skin have a rooting effect. Lace recalls play, dress up, order, and formality at different turns. But it also recalls sex, lingerie, privacy. That duality is what makes the material interesting.

St. Gallen, the small southeastern Swiss town where the Textilmuseum is located, has a thousand year old textile history. It is home to several of the oldest lace making companies still in operation. One company, Jakob Schläpfer, has supplied lace to a staggering number of couturiers throughout Europe since the 1950s: Chanel, Comme des Garcons, Paco Rabanne, Balenciaga, the list goes on. Recent innovations have extended into sequins, silicone lace, and textiles that incorporate jewels in a decidedly Tudor spin, like “trapped pearls” in chiffon. For Akris, which is based in St Gallen, the local lace trade is vital. “There is no Akris collection without St. Gallen embroidery,” says Albert Kriemler, the brand’s Creative Director. “St Gallen embroidery has almost infinite potential. It can be so much more than what you might expect.” Akris, in particular, is known for utilizing the knowledge of their local lace masters to create lace from an architectural perspective. No doilies here! Instead, we see lace with sharp edges, shadows, and even lace spelling out the brand name.

From a crisp, white social signifier to a marker of time and vessel for remembrance, lace has proven to be an extremely malleable, evocative craft, both in its finished state and in its making. “When you see people making lace, it looks like they are playing an instrument,” says Gohar. “Watching their fingers move… it’s poetic and beautiful and musical.” Lacemaking is like magic. Each pattern is a spell of movement and memory, each pattern book a grimoire lovingly maintained and annotated over years. Though what constitutes lace has evolved and expanded with the dawn of technology, its origin remains awe-inspiring. In its infinite variety, lace can stand as an example of how human skill and technology can intermingle fruitfully, with consideration and care at the point of connection.

Post written by by Camille Okhio
11.23.22

​https://www.wmagazine.com/fashion/lace-fashion-threads-of-power-exhibition?utm_campaign=11-24-22%20Hailey%20Bieber%27s%20Birthday%20



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We LOVE the Valentino "Sophisticated Evening Lace" Collection!
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VALENTINO~the Brand that follows Elegance and Refinement in Gala Wear

1/10/2015

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In life, there just simply are certain garments we want to wear in the most beautiful moments of our lives.  And in the world of Formal Wear, Valentino is a brand that follows both elegance and practicality…thanks to its secret ingredients that have maintained touch with the trends that influence Gala Fashion all over the world.  Season after season each collection is more amazing than the last.  At the same time, it’s evident that designs by Valentino always follow traditional style and taste, which will always rise to the top.

The polished elegance of Stoles, Capes, Shawls and Bolero Wraps that dominate Valentino's Runway at every Fashion Week prove to all of us that in every season, and in every fabric, whether lace, fringe, fur or sheer silk, Valentino's designers celebrate the flawless in women's true nature.  The extraordinary House of Valentino breathes inspiration from all women across the globe.  Whether shy, extroverted or romantic, Valentino designs are famous for creating gowns and accessories of elegance for everyone to dress their own personality without ever neglecting refinement and originality.

Either a sheer, black Embroidered Lace or Fur-Trimmed Lace Valentino Gown, or an ivory Lace-Caped Valentino Gown, such as the ones pictured here, exude pure elegance.  White Stole sees starlight when we look through the lace peep-holes in these gowns!  Equally elegant is the embroidered detailing and accents that present in the double-sided, luxurious "Sophisticated Lace Dream" Silk Twill Shawl Wrap by Valentino in the White Stole Collection, giving it the Ultra Luxe vibe you are seeking for any Wedding, making it easy to pair with a chic evening gown, glamorous heels or a beaded clutch.  For extra bonus, move the tie to a front shoulder, so your collarbone will definitely get noticed!

Simply choose from one of our favorite Valentino or Leonard Paris Silk Satin Stole Wrap Collections. These iconic brands’ graphic collections feature rich embroidery and color blocking to add superb styling to timeless essentials, all with a decidedly cool downtown flare!  Whether buying for yourself or for someone in your wedding party, wrap-up these luxe classics for a very stylish holiday season.

View White Stole’s entire collection for size and color ranges of Stoles, Stole Wraps, Vintage Stoles, Stole Capes and Shawls for purchase, or rental, on our website.
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Ivory Lace-Caped Gown by Valentino
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"Sophisticated Lace Dream" Silk Twill Bridal Shawl by Valentino
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Sheer Black Fur-Trimmed Lace Gown by Valentino
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Hand Silk-Screened Techniques applied to Cutting Edge Design = COMO

9/20/2014

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During the Roman Empire, Silk was sold for its weight in gold.  Today, “Silk” is yet another word for elegance, and silk garments are prized for their versatility, wearability and comfort. ​

Silk, or "soie" in French, is the strongest natural fiber. A steel filament of the same diameter as silk will break before a filament of silk. Silk absorbs moisture, which makes it cool in the summer and warm in the winter. Because of its high absorbency, it is easily dyed in many deep colors. Silk retains its shape, drapes well, caresses the figure, and shimmers with a luster all its own.

The styles and technological innovations made by Como's silk manufacturers may be new and constantly innovating, but the raw materials have remained constant for more than 4,000 years.  300 to 1,600 yards of filament extruded from silkworm cocoons have been the basis of the coveted silk fabrics. It takes 100 cocoons to weave just one tie, and 630 cocoons to make a blouse. 

​Today, the entire finishing cycle of silk and of other natural fibers are masterfully applied to every new printing and weaving solution.  The result merges the distinction between creativity and production as all themes are “creative:”  the emergence of a fiber or weave, of a pattern or bold color combination, of an innovative print or a yarn-dyed fabric.


To this day, the end result of cutting-edge CAD design production technology combined with the creative rhythm of masterful creations by individuals dedicated to their craft point to the skill and the unmistakable products that emerge from the luxury textiles industry in Como, Italy. 

White Stole offers representation of influential Italian luxury design and heritage production of printed, solid and yarn-dyed luxury women’s fabrics in silk, cashmere, cotton and modal using the traditional, custom-manufacturing that has originally been used in the production of Valentino and Leonard Paris Couture Silk.

View White Stole’s entire collection for size color ranges of Stoles, Stole Wraps, Vintage Stoles, Stole Capes and Shawls for purchase, or rental, on our website.


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The Historic City at the Center of Italian Silk Production ~ COMO, Italy

9/13/2014

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In the 6th century, silkworms were smuggled out of China in bamboo canes and brought to the eastern Mediterranean by two Persian merchants disguised as Priests. From there the labor-intensive business of breeding silkworms is believed to have spread first to Sicily in the 12th century, and then north to the shores of magnificent Lake Como.

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Seduction of Silk on Lake Como's shores is little known to those outside of the fashion industry, but since the turn of the century, Como, a 2,000-year-old Roman town on the southwestern shore of the lake of the same name, has been the center of Italy's silk industry.

Como's picturesque Duomo is the perfect view of the history: Master weavers were already working in Florence in the 13th century. In the 15th century, Venice became a silk processing center. In the 16th and 17th centuries, Milan assumed prominence as both the Italian and European silk capital. By the turn of the 17th century, Como became the country's largest silk producer. Como now produces 85% of all of the silk made in Italy. The silk fibers are still woven, dyed and finished in Italy's finest silk factories, just the way they have always been.

The historic piazza in Como city center tells more of the story:  Designers from virtually every fine house - from
Valentino, Leonard Paris, Armani, Chanel, Hermes, Vuitton, Dior, Celine, Balenciaga, Herrera, Etro, Pucci, Burberry, Fendi, to Versace, and beyond - rely on silk from Como. A good deal of the credit for a designer's success goes to the silk houses. While the fashion-line's designers may come to the manufacturers with guidelines and inspiration for the types of fabric designs they envison, it is the manufacturers' artists in Como who actually execute the designs.

View White Stole’s entire collection for size color ranges of Stoles, Stole Wraps, Vintage Stoles, Stole Capes and Shawls for purchase, or rental, on our website.



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VALENTINO Garavani’s undisputed influence on romantic Wedding Wear 

5/24/2014

 
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The date was 1954.  Valentino Garavani, then a young Italian who apprenticed for Jean Desses, designed a slim, elegant ensemble with a leopard-skin belt and Stole.  A moment that marked the beginning of his signature elaborate aesthetic that would catapult him to be known only by his first name - Valentino. 

After five years with Desses, and a brief time with Guy Laroche, in which his couture sketches became the foundation of his eponymous look, Valentino returned to Rome, Italy to set up his own label, bringing with him the grandeur that established for him the reputation of what Italians call “Dolce Vita” – Sweet Life.

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Valentino showed his first collection at the Pitti Palace in Florence for the first time in 1962, the acclaim instantly annointed him the go-to Couturier for the glitterati.  In 1967, he was awarded the prestigious Neiman Marcus Award for his infamous “No-color Collection” in which he rebuked the trend for decadent color palettes, opting instead for hues of beige, white and ivory.  This collection launched his signature “V” trademark.  In the same year, he designed the dress that Jackie Kennedy wore to marry Aristotle Onassis - both events that crystalized the fame that turned his business into an international fashion powerhouse, dressing Hollywood superstars from Gwyneth Paltrow to Cate Blanchett, Julia Roberts and Elizabeth Taylor to Anne Hathaway.

When interviewed by the Telegraph, Valentino said this about his early inspirations:  "I was always inspired by seeing glamorous American movie stars in clothes by the costume designer Edith Head…and when I was working with Jean Desses and Guy Laroche in Paris I was influenced by French couture and the luxurious lives of French women."

"A dress that reveals a woman's ankles while she is walking is the most disgusting thing I have ever seen," Valentino once told The Daily Mail.   In an interview in November of 2012 with Vogue UK, Valentino noted that times have changed since he first started his career.  "Few people love and make beautiful clothes, clothes that are soft, smooth and elegant," he said. "And very few designers today design - it's very important to be able to do your own sketch on paper and then explain [your vision] to the fabric cutters. Instead, lots of designers drape - it's the new way."

UK blogger David Downton described Valentino:  "My first couture experience was drawing Valentino fittings at The Ritz in Paris - it was like entering Narnia. He is the last of the old-school couturiers. Lightness of touch, rigorous discipline and an unfailing glamour aesthetic are his hallmarks.” And, on the subject of Valentino’s use of his signature color - red: "There is cardinal red and rose red. Come-to-bed red and go-to-hell red. But when it comes to a red dress, there is really only Valentino. As someone once said, Valentino invented red."

Despite having retired from designing for the Valentino label, Valentino still works on special commissions, recently designing the bridal gown worn by Princess Madeleine of Sweden for her royal nuptials in June 2013, a fact that has kept him in the hearts and minds of devotees of Bridal fashion.  Valentino has embraced Maria Grazia Chiuri and Pierpaolo Piccioli, the current co-designers of his famed label for the past five years, on their runway shows. The pair continue to successfully steer the Valentino ship season after season, carrying-on the magnificent, spirit-lifting collections which have come to symbolize couture in its truest sense while walking the line between feminine, light and intricate designs that remain modern and compelling for today’s women.

Each and every dress on the runway offers different fabrics and techniques, yet the concept of gowns constructed through piping details and lace, with silhouettes that we have come to know and love from Valentino – "demure, nipped-in waists and splaying skirts, necklines either cut straight across or high in Tudor proportion, Stoles, Capes and Shawls fluttering across dresses of distinct shape….with bold lines of red and black and cream that bring the body’s figure to life – remain.  Gowns in white look like they had been adorned in wedding icing - both elegant and pristine. Gowns breath-takingly made up of 450 metres of tulle, with swaying skirts that fold back on one another to create undulating fairy-tale hems.  Lines that are neither strict nor severe, always lending the sense of romantic femininity that is neither too sweet nor too austere"…remaining quintessential
Valentino.

View White Stole’s entire collection for size color ranges of Stoles, Stole Wraps, Vintage Stoles, Stole Capes and Shawls for purchase, or rental, on our website.

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This OLD Thing?   Timeless Couture is NOW  

2/22/2014

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All you have to do today is look at any fashion magazine or runway to witness that the future of fashion has arrived….and it’s all about dreaming of the past.  Fashion’s tendency to sample and recycle is certainly nothing new.  This truth can be seen as early as Dior’s famous hourglass New Look silhouette, which was hailed as a watershed moment for post-WWII fashion, but it wasn’t altogether original.  

Afterall, Dior’s fanciful design was inspired by the corsets and petticoats of his own Belle Epoque childhood.  What made his designs wildly resonate for so many, however, was that they contrasted sharply with the long war-years of frugality.  Dior wrote in his autobiography in 1956: “It happened that my own inclinations coincided with the spirit or sensibilities of the times.”  And as the world turns, the attraction of timeless couture is proof that it never goes out of style.

Historically, natural fur marked certain stages in the lives of a girl of good family: at eighteen, Daddy would buy her a beaver and a mink jacket or coat for her marriage.   In 1962, Time magazine was asking: “After mink, what?”  In 1964, Valentino began to think about Evening Wear and in that year presented a short natural jacket with kimono sleeves over a long gown.  In fact, the reign of natural fur was to be a long one that also revisited us in its many evolutions.

This 1946 vintage photo by Gjon Mili of Evelyn, Sunny and Dovima in pure White Mink Stoles over evening gowns brings forth the vision of pretty beauty that brought the era under Dior’s hourglass influence.   White Stole calls this inspiration Quintessential!

View White Stole’s entire collection for size color ranges of Stoles, Stole Wraps, Vintage Stoles, Stole Capes and Shawls for purchase, or rental, on our website.

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Fashion ‘Createurs’ who fueled the Stole trend…from Paris to Florence   

7/31/2013

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Alongside Jole Veneziani and Maggy Rouff, a Balenciaga model in 1954 pictured a clean-cut, elegantly tailored woman in a broad-collared black fox.  At the same time, a young Valentino designed for “Desses” a slim ensemble with a leopard-skin belt and Stole.  There was great fascination by this time in the creations coming from the great Paris fashion-houses and the Sala Bianca of the Pitti Palace in Florence became the place where furs came to the runway.

By 1949, Ferdinando Schettini, the son of a Neapolitan wholesale furrier, who was already creating for Revillon, Freres, Moilyneux, Chanel and Shiaparelli in Paris, moved on to Milan to create furs for French and Italian society-women.  His extravagant evening wear became known for moveable shoulders that could be worn over a coat or a tailor-made jacket, along with fur gloves, hats and muffs.  Before fur breeding began to take hold of the industry, he is said to have gone to Turkey in search of perfect-matching chinchilla skins.

This was the time when furs were cleverly mounted on a tailor’s base of tulle, and when the importance was attached to luxurious linings bearing the client’s initials embroidered in gold thread.  

View White Stole’s entire collection for size color ranges of Stoles, Stole Wraps, Vintage Stoles, Stole Capes and Shawls for purchase, or rental, on our website.

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This Pretty little Thing called....”Couture!”

6/22/2013

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Any study of fashion can not be separated from women’s fashion history and an understanding of the beginnings of Haute Couture literally meaning “high-quality sewing.”  Paris had been the center of couture since the 19th Century when couture was transformed from a craft into business, and high art. 

Women’s fashion had been put on ice during WWII from 1939 to 1944.  During the occupation of Paris in 1940, many fashion houses were forced into war-related industries.  The progress of the war made it necessary to prohibit all superfluous material and labor.  America followed Britain in clothes rationing with L85 restrictions, promoting the approved ” Victory Suit” with its narrow styling as being more practical and patriotic. 

The Allied Nations were at a loss when Paris fell because they had looked to Paris as the World Capital of Fashion since the 17th Century.  Despite materials rationing on both sides of the Atlantic, some 20 Parisian couture fashion houses violated the wartime silhouette during this time and continued to produce approximately 100 models per year – primarily for wealthy collaborators or for export to Germany.  From Designers to Apprentices, the French declared they had fought to keep Parisian Couture alive because it represented a Parisian industry of prime importance, a means of employment…but most importantly, because it preserved Haute Couture in the eyes of the world.

View White Stole’s entire collection for size color ranges of Stoles, Stole Wraps, Vintage Stoles, Stole Capes and Shawls for purchase, or rental, on our website.


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