SAFEGARDING PLAN BRODERIE D'ART AND GOLD EMBROIDERY
In order to be able to nominate broderie d’art and goldwork embroidery for the inventory of the Knowledge Centre for Intangible Cultural Heritage in the Netherlands, I had to write a safeguard plan:
You can find my entry in the KIEN inventory here
Safegarding plan Broderie d'art
1. Name of the intangible heritage: Broderie d'art
2.Why do you want the intangible heritage to be included in the Inventory of Intangible Cultural Heritage in the Netherlands? Do you see advantages and/or disadvantages?
An addition to the inventory encourages me to make my craft visible even more structurally than before and can thus contribute to the preservation of my craft. I hope that the attribution can also be a support to underline the importance of maintaining and encouraging manual skills. I think it is important to convey the importance of manual skills, a concept can still be so good, if the manual skills are lacking to make something, the concept cannot be conveyed properly.
3.Describe here how the intangible heritage is practiced today.
Broderie d'art and goldwork embroidery starts with making a design, because broderie d'art is almost always applied to unique garments or accessories, there are no patterns available. If the fabric, usually silk organza, is stretched in an embroidery frame, the design is transferred
to the fabric with chalk, a stencil, a stamp or with tissue paper.
After tensioning the fabric and transferring the design, I will distinguish between embroidery d'art and gold embroidery.
Broderie d'art:
embroidery with a so-called Lunevillehook, a thin sharp crochet hook, with which beads and sequins are secured. A special feature of this technique is that you use the lunevillehook to pass loops of work thread through the fabric and between those loops at the bottom of the fabric you always slide a bead or sequin (these beads or sequins are already on the working thread) and secure them with a subsequent loop. So you work on the back of the embroidery and don't see exactly what you're doing, that goes by touch. This way you can fill large areas with beads or sequins relatively quickly.
Goldwork embroidery:
One of the most striking features of goldwork embroidery is the creation of reliefs with cord, felt, leather or cardboard. These reliefs are then decorated with -cannetilles( thin metal spirals that you can cut to size and sew on like a bead)
-metal strips that are
sewn zigzag -thick gold thread that is sewn with
a thin yarn.
Characteristic of both broderie d'art and goldwork embroidery is the sewing of many traditional and experimental materials, everything that fits through a needle can actually be used for embroidery, everything that a needle can pass through is in principle suitable for sewing. One of the traditional materials from India that I like to work with are, for example, jewel beetle wings , which give the illusion of gemstones.
- finishing: after embroidery, the work is removed from the embroidery frame and further finished, this can be an application that is sewn up somewhere, a decoration in a beautiful embroidery ring as a frame, or with a piece of leather or felt on the back as jewelry. Embroidery on larger pieces of fabric can be processed into a garment after embroidery.
I teach these techniques to all kinds of students in my studio. I occasionally work with couturiers and tailors, and I make free work for exhibitions and events such as Masterly The Hague.
Mapping the intangible heritage
4.Which organisations/groups/associations and/or individuals are involved in the intangible heritage? Describe how they are engaged.
As a traditional embroiderer of embroidery of broderie d'art and goldwork embroidery, I am an independent practitioner. In the Netherlands there are about 6 teachers who teach these techniques more or less regularly.
Since 2015 I teach broderie d'art, since 2018 in goldwork embroidery. I introduced a total of about 350 people to these techniques, from short introductory workshops to annual courses and master classes.
I teach and guide students in their own development as an embroiderer, in the past 10 years I have given workshops and courses to many groups. Since corona I have switched to individual lessons and workshops in small groups.
In recent years I have worked with tailors, couturiers and milliners on special pieces. These pieces have been shown at the fashion week in Dubaï, worn by a pop singer in the Sportpaleis of Antwerp, shown at the festival de la mode in Hyeres (Fr) and at an international tailoring congress.
5.Describe here the history and development of the intangible heritage. Don't forget the last few decades.
Embroidery in a general sense originated as protection of the edges of garments, such as cuffs and slits. Especially in the churches, goldwork embroidery was used very early in chasubles and hangings. Tambour embroidery, the predecessor of broderie d'art, came to Europe with the Silk Road from India around 1750. During the Industrial Revolution, machine cotton tulle was soon manufactured, which was tamboured with, as a relatively cheap imitation of lace. This became a large home industry in several regions of Europe, such as Lier (B) and Luneville (F). In 1865 a new application was developed in Luneville, by stringing beads on the work thread and adding them between the embroidery stitches, beads could suddenly be embroidered relatively quickly, this is the origin of broderie d'art. In the twenties of the last century, this technique came to a summit in the embroidery with beads and sequins of the flapper dresses of the roaring twenties. Broderie d'art, supplemented with goldwork embroidery, is one of the techniques that belong to haute couture and has a constant revival. At the same time, the Lier lace, as a forerunner of broderie d'art, has also found its place in Dutch traditional costumes, many Dutch traditional headdresses are made with lier lace.
At the moment there is a lot of attention for broderie d'art from the various fashion houses. In recent years, this collection of embroidery techniques has also been increasingly discovered in the Netherlands as an autonomous art craft, in fashion, and as a hobby for enthusiastic craftswomen who are looking for new techniques to delve into. In recent years, the interest in needlework has increased again, people are discovering again the satisfaction it gives to be able to make something themselves. Because more and more can be found on the internet about specialized craft techniques, there is also an increasing demand for lessons and courses in broderie d'art and goldwork embroidery. There are currently about 6 teachers who teach these techniques on a more or less regular basis in the Netherlands. Most students are people who already have a lot of textile experience and want to expand their skills, these are both amateurs and professionals in the fashion crafts. Broderie d'art and goldwork embroidery as I practice it is somewhere between fashion and autonomous visual art. I would like to apply the traditional techniques in contemporary design, and not limit myself to applied design, but also let embroidery shine as an autonomous visual art technique.
6.Where does the intangible heritage take place?
Broderie d'art takes place in my studio "Moniquenwerk" in Tilburg, and by invitation during workshops and masterclasses on location, this was for example at the Kantfabriek, Fashionclash and for the Branchevereniging Mode-Ambachten.
7.When does the intangible heritage take place?
I'm actually always working on broderie d'art....
When I embroider, of course, but also when I teach, when I am looking for beautiful materials to work with, when I research new techniques or find inspiration for new designs.
Core of the intangible heritage
8.What are the components of the intangible heritage? Mention the components as described in question 3 point by point.
Method in Broderie d'Art and goldwork embroidery:
- Making a design, there are no standard motifs because it is an applied craft.
-stretch silk organza or other non-stretchable substrate fabric in an embroidery frame.
pattern/design, with chalk, a template, a stamp or with tissue paper.
-The actual embroidery, with different embroidery stitches the design with needle and thread, or with a so-called Lunevillehook, a thin sharp crochet hook, with which beads and sequins are secured. Characteristic is the sewing of many traditional and experimental materials, everything that fits through a needle can actually be used for embroidery, everything that a needle can pass through is in principle suitable for sewing.
- finishing: after embroidery, the work is removed from the embroidery frame and further finished, this can be an application that is sewn up somewhere, a decoration in a beautiful embroidery ring as a frame, or with a piece of leather or felt on the back as jewelry. Embroidery on larger pieces of fabric can be processed into a garment after embroidery.
9.Which of the parts mentioned in the previous question do you want to pass on?
-stretch silk organza or other non-stretchable substrate fabric in an embroidery frame.
pattern/design, with chalk, a template, a stamp or with tissue paper.
-The actual embroidery, with different embroidery stitches the design with needle and thread, or with a so-called Lunevillehook, a thin sharp crochet hook, with which beads and sequins are secured.
10.What are the core values of the intangible heritage that you want to preserve?
For me, embroidery is meditating with my hands, which also results in beautiful embroidery that I still manage to surprise myself with! It is a very personal handwriting, you develop your own handwriting in it. In addition, it is very special to be able to add something to the work of a tailor or designer with embroidery, in collaboration something can arise that is more than you could have imagined separately.
Significance of the intangible heritage
11.Why is this intangible heritage important for managers and practitioners?
For me, embroidery is meditating with my hands. For me, the usefulness of embroidery lies in the repetitive act and the peace that comes from it. The fact that you can make or decorate the most beautiful things with it is a bonus.
I guide my students in the development of their skills and insights and ensure that they achieve results that are beyond their own expectations, making them proud of what they can make themselves.
12.Why would younger generations want to adopt this intangible heritage?
The young people who take lessons with me do this as a supplement to their training, for example a professional fashion training, or want to learn these techniques to apply in their costumes for cosplay and / or theater and can thus give a unique addition to their work. These young people distinguish themselves by the choices they make, not mainstream, and use the techniques they learn from me to be able to make unique work themselves.
Documentation and transfer of intangible heritage
13.How is (the knowledge of) the intangible heritage documented?
Little or no good literature has been published in the Netherlands about broderie d'art and gold embroidery. I myself am busy writing down various techniques in work descriptions for embroidery kits and clarifying them with pictures. I write blogs on my website about all kinds of aspects of broderie d'art, e.g. about the use of an embroidery frame, what kind of beads you can use, what a lunevillehook is...
14.What does the archive and/or collection consist of? Where is it stored?
The collection of portfolio pieces, examples and free work is in my studio in Tilburg, much of it can be found on my website.
15.How is the intangible heritage now passed on to future generations?
I mainly pass on my craft in the lessons and workshops I give, write about it on my blog, make kits so that people can also embroider at home.
I use different digital platforms to show my work.
- on Patreon I make work descriptions for paying followers with photos of my techniques in gold embroidery and behind-the-scenes insights into how I finish something or other fun facts.
- on Instagram (3100), Facebook (4600) and Linkedin (140) I have company pages where I show my latest embroidery and try to enthuse people to start embroidering themselves.
Strength-Weakness-Opportunities-Threats analysis of the intangible heritage
16.What are the strengths of this intangible heritage?
For embroidery you basically need a needle, a thread and a piece ..... You can develop on that endlessly!
17.What are the weaknesses of this intangible heritage?
Broderie d'art and goldwork embroidery are relatively unknown embroidery techniques, which threatens to make the knowledge of them disappear.
18.What are the opportunities for this intangible heritage?
Embroidery can play a role in the current trend of sustainability in textiles, because textiles can be personalized with handmade and preferably homemade embroidery, it will be handled more carefully and the textile will be used longer.
19.What are threats to this intangible heritage?
One of the threats to broderie d'art and goldwork embroidery is that the specialized supplies are becoming increasingly difficult to buy.
20.What steps have been taken in the past to resolve weaknesses/threats/issues?
I try to make these unknown techniques visible and bring them to the attention in as many ways as possible. To make it possible that these techniques can still be carried out, I started selling the specialized supplies myself, it is often quite a scavenger hunt to get suitable supplies.
In addition, I give courses and workshops to introduce people to these techniques.
Safeguarding the intangible heritage in the coming years
Make visible on the various digital platforms what is possible with embroidery, and look for opportunities to demonstrate these techniques, such as at the Branchevereniging Mode Ambachten, various events such as Ambacht in Beeld, theme weekend about fashion in the Prehistoric Village, handicraft events and exhibitions.
Education takes shape in the courses and workshops I offer. With the help of an ROC teacher, I will put together an education program for ROCs and actively approach the ROCs with a fashion education. Participating as a workshop provider in a development program for craftsmen in the textile industry from the Fashion Crafts Trade Association of Trades, this program runs from June 2023 to July 2024. since April 14, 2023 I have been recognized by SBB as a professional trainer for creative craftsmanship in the direction of textiles, and I can supervise interns of MBO courses.
I am busy describing my techniques in work instructions and blogs, which I publish immediately when I have written them on Patreon and my website, which I want to eventually bundle into an extensive reference work.
On my website I will publish an inventory of my own library, with books on embroidery d'art and gold embroidery, but also on fashion and costume history, traditional costumes, handicraft techniques. These books can be viewed in my studio by appointment. By publishing this inventory, it can be a guide for interested parties who are looking for literature in this field.
Seek cooperation with other crafts, such as tailors, couturiers and designers of home decoration, for example..