Chasing the Lace ~ Choosing the Right Lace for Historical Reproductions

Draping possible lace choices for my recent ca. 1764 pink taffeta English gown and fichu/neckerchief.

My motto in historical reproduction costuming has always been that "small things make a big impact", in other words it's the details that can really make a replica look -- at least from a reasonable distance -- as close as possible to an authentic antique garment.

Finding the right style, colour, type, weight, and width of lace (especially when shopping online) can be a challenge that can take hours, if not days, of searching.  Even modern synthetic laces aren't necessarily inexpensive -- often it's one of the biggest investments, aside from the fabric itself, that will go into re-creating an historical garment.   So it's worth taking a careful look at some of the considerations involved in choosing laces for reproductions. 
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Having just completed a ca. 1760 silk gown, and having agonized, it seemed, for days over just the right lace to place where, I thought I'd offer some suggestions and tips garnered from my own decades of experience in reproducing historical costuming and particularly in trying to choose just the right lace for the finishing touches.

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Ca. 1906-10 antique peignoir with antique Val lace trim.

1910 reproduction peignoir with modern (reproduction) nylon Val lace trim.

1)  Avoid Using True Antique Laces:  I recommend forgetting about using true antique lace in reproduction costumes, unless you are making a replica for a museum or similar display where precise authenticity is important.  There are several reasons I say this: 

• Antique laces tend to be very expensive, and are usually more fragile than you might imagine.  They also often have age-related damage or stains that would need to be dealt with prior to use. 
• Antique laces are generally only available in short lengths which limits their practical use in reproduction garments. 
• It's very difficult to determine the true colour of an antique lace from photographs online, and usually impossible to get samples from sellers.  You may well find that the lace that looked lovely and white in photos is actually yellowed or dingy with age, something that may nor may not be able to be remedied with washing.  (In fact, it's hard to know how well a particular antique lace will respond to any sort of washing, even the most careful). 
• Any antique lace you incorporate into an historical reproduction that will actually be worn is likely to get damaged to some extent or other from that wearing.  This includes stresses from normal movement, exposure to sunlight/UV or body moisture, or accidental ripping or tearing, often at edges where stronger, more modern fabrics meet the delicate antique lace fibres.  
• Most antique lace available today at anywhere near affordable prices and usable lengths will be late Victorian or -- even more likely -- Edwardian era lace.   Much of this is Valenciennes lace, a type that is still made and sold new today, and is offered in a variety of patterns by the metre/yard from heirloom sewing suppliers.  There is really no advantage or logic in using antique Valenciennes-style laces in reproduction garments when authentic replica lace is so easily available.  
• Some antique lace really deserves to be preserved rather than being sewn onto a modern reproduction for costuming purposes.   The older the lace is, and the better its condition, the more this applies. 

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Ca. 1742 portrait by Thomas Frye, with beautifully rendered lace detail.

2)  Study laces for the period(s) that interests you.   
By this I mean, really look at and pay attention to the details, the motifs, the density of the patterns, the weight of the lace, and so on.  Does the lace appear thick and heavy or light and thin, with large or small decorative elements, closely-spaced or further apart?  Is it a needle lace or a net type?  Is the ground fine and diaphanous silk or a sturdy linen or cotton reseau?  ​What sort of decorative motifs are used, are they heavily raised and padded, or worked into a flat piece?  And so on.  Once you've done a bit of research, you'll find you'll be asking the right questions when looking at purchasing a modern reproduction lace. 

The best resources for this study are books on the history of lace, which are readily available in public libraries and online.  Another good resource is historical painting and portraits, although be aware that artists did not always render lace in minute or faithful detail. 

Also be particularly aware of the fact that the laces chosen by museums (or private collectors and sellers) as accessories or additions to displayed extant garments are not always antique laces of the same period -- and this includes photos of extant garments available online.  

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A reproduction (at right) of a 1912 corset-cover, using modern synthetic laces close to the types shown in the 1912 fashion sketch.

3)  Find a Synthetic Lace with the right "character" for your era and garment: 
​This is a matter of judgment, and follows from my recommendation #2) above.   It can take time, but there is a huge variety of synthetic lace available on the market today.  Here are some general suggestions for historical-looking modern lace: 

• Very old lace (prior to the early 18th century) tended to be denser, heavier and more substantial-looking.  Some modern laces, such as good quality cotton or synthetic guipure types, can sometimes mimic this effect quite well. 
• Look for motifs and pattern density that look similar to those of the era you're interested in.  For example, 18th century lace tended to be open, airy, and delicate-looking, with small motifs.  Modern polyester or nylon laces can sometimes replicate this look quite well. 
• Synthetic Chantilly laces in polyester are actually very good at reproducing the look of true Victorian Chantilly lace for trim on gowns as well as for lace wraps or shawls.  Look for a modern Chantilly lace with a flowing, soft, lightweight hand and delicate net ground to re-create these laces.  
• Dense, heavily packed laces with large floral motifs (especially big, blousy roses) are best for Victorian fashions.  
• Don't forget to look for vintage laces (especially lace trim, rather than yardage) from the 1970's or 1980's, as these are often very good replicas for 18th and early 19th century laces. 
• For Edwardian and early 1910's lingerie the ​lace to use is Valenciennes, both for edging and insertion.  As mentioned above, these types are still manufactured today, usually in a 90% cotton/10% nylon blend that exactly replicates the original laces of the era.  The small nylon content gives modern Val laces extra strength.  For petticoat trim, wider Cluny-style modern lace, in either polyester or cotton, works very well.  
• If you're buying a quantity of lace trim for a project, see if you can ask for a small swatch before committing to a large purchase!  Sometimes the right "looking" lace can have exactly the wrong drape for your project -- either too stiff or too limp.  
• Avoid modern "stretch" laces if you have any other alternative.  They are just not right for historical reproductions, as they will often skew and distort when sewn to lightweight fabrics, or hang limply where they need to look flounced.
• On the other end of the spectrum, some nylon laces can be incredibly stiff and crisp (as well as scratchy against the skin!).  Watch out for this especially when buying online -- if the seller doesn't describe the lace as soft, see if you can ask to purchase a small swatch.  

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A 1904 reproduction gown in printed cotton voile. Over 15m of nylon lace edging was used for the flounces. Fortunately I'd bought the lace in bulk!

4)  If you find a great modern reproduction lace at a good price, buy MORE than you need!  
If you usually focus on a particular era of historical costuming, you won't regret having an available "stash" of the right lace on hand.  If you're lucky enough to come across  really good modern lace to reproduce laces of your era (and can afford it), I highly recommend buying more than you actually need for the one project.  ​ I once was lucky enough to find over 100 metres of vintage nylon reproduction Valenciennes edging lace being sold by the bolt -- and I'm still using it!  An example of one of the replica gowns made with this lace is shown above. 

However, beware of buying a large "mixed lot" bag of lace, especially vintage or antique laces, unless the seller specifies the individual lengths.  Often these lots contain short, virtually unusable pieces -- fine for a collection, or for doll clothes, but often completely impractical for use on a full-size reproduction garment.  

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A courtly greeting by a French soldier on the grounds of Fort Anne, Annapolis Royal, Nova Scotia.

5)  Lastly, remember the "1-metre" rule of thumb!
This general advice assumes that the lace on a reproduction garment (especially one that will be worn) really only needs to look "right" from a reasonable distance, i.e. usually the nearest anyone will be when you're chatting with them (present Covid restrictions aside). 

​No one should be examining your ensemble closely enough to be able to easily tell whether the lace on it is antique or not.  In fact, I think there is an understanding amongst the historical costuming community that synthetic laces are a necessity in reproduction garments, for all the reasons I outlined earlier.  If you ever find anyone criticizing the use of an appropriate-looking modern lace on an historical reproduction, feel free to quote my six points against using true antique lace on such projects! 

​Still, your lace should not scream modern synthetic, or 21st century, or look so completely out of place as to detract attention from the garment itself.  A really cheap, poorly-chosen modern lace will do nothing to improve an otherwise beautiful reproduction garment.  In other words, the lace should enhance the overall look, or at the very least, blend into the era and style of the garment.  

I think there is so much selection in laces today, especially online, that with some research and patience it should be possible to find just the right one for your project!

Below are just a few examples of reproductions I've created using either good quality modern cotton or synthetic laces, or occasionally vintage laces purchased in quantity.  It's wonderful what that final addition of lace can do to an ensemble!

Engageantes at the sleeve ends and lace edging on a fine cotton mull fichu (shown over the ca.1764 replica gown)

Lace frills on a man's ca.1750 reproduction linen shirt.

Lace neckline frill on a ca.1750 reproduction linen shift.

Lace neckline edging, and tiers of net lace on underskirt -- 1884 reproduction ball gown.

Synthetic edging lace and modern Valenciennes insertion lace on a reproduction 1903 petticoat.

Modern guipure lace overlay on the bolero bodice of a 1904 reproduction afternoon gown

Modern nylon laces on a reproduction 1911 linen nightgown.

Modern vintage French cotton lace on a 1911 reproduction silk satin wedding gown.

Another view of the lace used for the bodice of the 1911 bridal gown reproduction. Although this was modern vintage lace from the 1980's, it looked very much like fine Brussels lace.

Modern cotton laces on a 1912 linen automobile "duster", in imitation of the antique guipure lace.

Modern metallic gold lace on a 1913 reproduction evening gown. I was fortunate to find a few metres of this lace in a close-out sale.