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

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Cap crown and matching lappets, 1715-1725 

This set comprising a cap crown and matching lappets reflects the very essence of Brussels lace in the early days of the 18^th century.

This lace:

• was made using bobbins
• employs the lace inserts technique
• comprises a variety of points and grounds creating extremely meticulous patterns.

It reveals the great skill of the lacemakers who crafted luxury accessories. These lacemakers contributed to the reputation of this lace throughout Europe.

The patterns include various grounds and densities, creating contrasting shades of white. They are linked by interlaced patterns of flowerets encased in ovals connected by picoted brides which lend a lighter touch to the piece as a whole. The lappets, which are rectangular and slightly narrower at the bottom, also display a wide variety of grounds and points. The contrasting patterns in relief, including the cornucopia and peonies, are separated by the same interlacing as the cap. Meticulously worked patterns of flowers and foliage are arranged in mirror formation. A clearly visible rib in relief, created with bobbins, emphasises the patterns. This is known as faggoting.