Ilkeston: The historic Cluny Lacemakers, a family-run business in Derbyshire, continues to produce exquisite lace using traditional Victorian techniques, blending centuries-old craftsmanship with modern demand as its artisans face industry changes and challenges. Celebrating 180 years, they supply high-fashion and television markets while preserving their legacy.
In the Derbyshire town of Ilkeston, the historic craft of lacemaking is kept alive at Cluny Lacemakers, a firm that employs traditional Victorian methods to produce exquisite lace products. This family-run business, which is currently under the stewardship of the Mason family and has been active for 180 years, showcases an impressive array of machinery and skilled artisans dedicated to maintaining a centuries-old craft.
Visitors to the factory enter through an iron-gated archway into a courtyard where Cluny’s sales director, Kate Knight, welcomes them. Inside, the machines—some dating back to the Victorian era—are tended by twist hands, including siblings Margaret Gregory and John Newton. They operate large, cast-iron lace-making machines, utilising thousands of cotton threads to create fine lace that has gained popularity with haute couture fashion houses such as Dior, Gucci, and Burberry. Notably, this delicate lace has adorned the bridal wear of the Princess of Wales, and Cluny has also supplied lace for television productions such as “Father Brown” and “Emmerdale Farm.”
Margaret, who has been with the company for 28 years, appreciates the environment, stating, “It’s good here. The noise has its own rhythm. It’s not an unpleasant sound. It’s like a heartbeat.” Her brother John echoed that sentiment, remarking, “I love it. It’s very rewarding.” The factory previously employed a significantly larger workforce of 60, but changes in demand since the 1960s have led to a reduction in staff numbers; Cluny currently employs only seven people.
In a separate part of the factory, Gail Whitby and Julie Stones meticulously prepare semi-finished lace products, ensuring each piece is flawless. As Gail aptly pointed out, “Start again! You can’t make mistakes!” Their skilled work, traditionally completed by home workers, is now integral to the family business.
The factory features a large production floor where machines crafted locally by Jardine’s of Nottingham dominate the landscape. Tim Johnson oversees one of these machines, which relies on an early form of computerisation, where punching cards guide the lace creation process. Another key figure is Ian Emm, who has worked for over 60 years ensuring the Leavers Lace system is operational. He expressed a sense of pride in being one of the last artisans in this domain, though he voiced concerns about the future of the craft he loves.
Despite facing challenges such as increased costs of raw materials and energy, post-pandemic disruptions, and Brexit-related bureaucratic hurdles, Cluny Lacemakers remains resilient. The company has seen a resurgence in demand, leading to exports of their lace to various international destinations, including Alabama for pageant dresses and Liverpool for Catholic vestments.
Kate Knight remains optimistic, stating, “Our major market is not so easy to sell to, but you find ways through… the demand is still there, and we’ve taken serious steps in the last couple of years to ensure we have ways of forging ahead when things settle down.” In the year marking their 180th anniversary, Cluny continues to blend tradition with contemporary design, securing a role in the future of fashion. The lace produced here is described as “the closest you can get to handmade,” with patterns going back over a century, emphasising the legacy of craftsmanship that defines this unique industry.
Source: Noah Wire Services
