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He took silk as ground material for the embroidery and used cotton thread to produce patterns and motifs. By burning out the silk part with caustic soda, the embroidery part remained as chemical lace. Apart from etching, the exhibition also reveals other typical lace techniques, including a running stitch and chain stitch. A book from 1900 reveals how lace makers drew inspirations from different cultures and regions. One of the embroidery pieces from the St Gallen collection is found with the Chinese character xiang (香) stitched on it. In the “beauty of the mechanics” section, laces made by machines are juxtaposed with illustrations showing the evolution of technology, from hand-operated machines to the latest 3D printing. Martin Leuthold, creative director from the textile company Jakob Schlaepfer presents a delicate 3D printed black lace cloning patterns on the fabric pieces. Although the embroidery industry never recovered its prosperity, as it did in the 19th and 20th centuries, lace still remains popular with haute couture productions. In the “lace in the future” section, the Textile Library invited six groups of fashion designers to interpret lace in new contexts. Designer brand CHEN PENG used laminated lace on down jackets.
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