Chapter 1 outlines movements within contemporary textiles that have a bearing on the course of this research and identifies the group that seeks to produce difference in crafted art as the one whose objectives are most closely related to those of the current research. The methodological foundation underpinning the research process is then detailed.
Chapter 2 defines lace and examines problems inherent in its research. Irish Crochet derives from two sources: needlelace and crochet. This chapter traces the history of European needlelace to help gauge the extent to which mid nineteenth century Irish Crochet lace was influenced by pre-existing lace, to measure the degree of Irish innovation. Relevant lacemaking techniques are then identified because technique is stylistically descriptive and can locate a lace in a particular era and geographical area.
Chapter 3. The origins of crochet cannot be conclusively determined but makers in Scotland and England were instrumental in popularising the newly fashionable craft by publishing books of patterns from 1840. This chapter is an in-depth study of early British crochet and the significance of the first books of patterns, to assess whether there is a link between that work and the strand of Irish Crochet that derived from crochet technique.
Chapter 4. Contemporaneous texts and examples of known early 1850s Irish Crochet lace are the basis for the hypothesis that untrained girls and women produced an original style of lace. Although the makers referenced other lace, the creativity of the crochet-based version came largely from their experiential knowledge and the experimental ease allowed while adapting crochet technique. This chapter includes a detailed consideration of the veracity of the widely-believed claim of one designer that she invented Irish Crochet.
Chapter 5. The theory that mastery of craft technique can sometimes generate a form of creativity during making, that is inaccessible at a ‘design stage’, is tested in practice. Several series of empirical work are devised to mimic aspects of the early Cork makers’ experience. Unexpected insights into the creative process are revealed by reinterpreting the repetitive, undemanding tasks required of some makers. Computer software is used to replicate the ‘controlled chance’ approach of others. Textile art prototypes are made as contemporary interpretations of the spontaneous artistic sensibility that is identified as being the ‘essence’ of Irish Crochet lace making.
Chapter 6 summarises the ways in which this research: (1) clarifies widely-held historical misconceptions; (2) produces new evidence to extend the tentative proposals of other researchers; and, (3) presents evidence, in text and practice, in support of original hypotheses. Limitations are identified before the thesis concludes by noting how the research could be carried forward.