The lace room

Through previously unseen pieces, recently acquired or specially retrieved from storage, you will plunge into the extraordinary history of Brussels lace. A fabric that has since disappeared.

Lace is an openwork fabric made with a needle or bobbins. The motifs are connected to each other by a background of stripes or mesh. Initially, it was made by hand and later it was mechanised. Lace is distinguished by its techniques, materials, motifs, colours, etc. Most of the time, it is the place where they were first produced that identifies them: Brussels, Malines, Valenciennes, Bruges, and so on.

• Brussels lace has gained international renown over the centuries. Its finesse, quality and beauty made it the preferred textile of the elites from the 17th century. It found its way to the greatest royal courts of Europe, adorning the apparel of both men and women.
• In the 19th century, lace became more democratic and widespread thanks to mechanisation. The price of fabric fell. Lace then conquered women’s fashion. Remarkable pieces were made in unprecedented large sizes, lace became a garment.
• This mechanisation marked the end of handmade lace. Brussels lace disappears with the First World War.

An overview of the museum’s lace collections

The museum’s lace collections are an integral part of Brussels’ heritage. Several of the exhibits are included in the inventory of the movable heritage of the Brussels-Capital Region. For example, check out this handkerchief decorated in the typical style of the Napoleon III era; its scalloped edges are composed of alternating leaves and flowers

Veil (?)
Needlework lace, point de gaze
Brussels, ca. 1860–1880

This impressive piece, measuring nearly two metres by two metres, is entirely hand-stitched. It is known as gauze because of the fine mesh used to bind together delicate floral motifs. This technique was the height of fashion in the 19th century and is first mentioned in a report on the Great Exhibition that took place in London in 1851. The lacemakers’ dexterity and the variety of stitches allowed them to convey nuances and contrasts. The use of a light, airy ground, made from a simple needlepoint loop stitch, gives the lace a light quality. This ground was created in successive rows with a single thread, with each row connected to the previous one. Often consisting of roses with overlapping petals, this lace is also known as point de rose.

As the piece’s exact purpose has not yet been determined, the museum’s conservation team has opted for a flat presentation. This prevents any assumptions from being made about the piece’s intended use: was it a veil, square shawl, cape or tablecloth? As gauze stitch was an extremely expensive lacemaking technique, it was mainly used on prestigious pieces. A piece of this size must either have been commissioned or created in order to demonstrate the manufacturer’s dexterity. For example, it may have served as a showpiece for advertising purposes at international fairs and exhibitions of the time. This lacework piece will soon be studied by the team…

The acquisition of this item was made possible by the King Baudouin Foundation  through the Marie-Jeanne Dauchy Fund, which has placed it on loan at the Fashion & Lace Museum. For nearly 40 years, the King Baudouin Foundation has played a key role in safeguarding and protecting Belgium’s artistic and cultural heritage. Alongside other items in the museum’s collection, this piece demonstrates the excellence of Brussels’ lace production, which built the city’s reputation from the 17th to the early 20th century.