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By Jules Molk (ed)

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Around 1895, a woman from Dalton, Georgia, attempted to copy a candlewicking bedspread by using the “turfing” stitch. Turfing used a needle and thick cotton yarn to make the running stitch on cotton sheeting. Once finished, stitches on the surface were cut and the piece washed in hot water. Washing promoted shrinking and intensified the tufted look of the 12-ply cotton thread. ” Patterns were geometric and often based on quilt designs. Thousands of bedspreads were shipped from this tiny southern town to individuals and department stores between 1910 and the 1940s.

Beading of this type is often seen on lingerie and children’s clothing. Cultural traditions using beadwork can be found throughout the world. In Africa, Indonesia, and Polynesia densely sewn, bead-encrusted textiles are common. Young South African Zulu women weave beaded “love letters” to give to young men as part of the courtship ritual. The arrangement and coloring of the beads convey an allegorical message. In Nigeria, bead netting embellishes the elaborate headdresses of the Yoruba tribe. Taman women in Indonesia wear beadwork skirts and shell-work jackets.

Its growth was enhanced when Charles V (1500–1558), Holy Roman Emperor, decreed that lacemaking be taught in the schools and convents of the Belgian provinces. Lace schools for village girls were founded by noblewomen. Children of both genders were enrolled at about age five or so, with boys usually leaving as they grew strong enough for harder labor. Lacemakers of all ages worked from dawn until dusk, often in crowded, unventilated rooms. Since linen thread becomes brittle when dry, spinning and working fine thread required dampness.

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