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Lace & Lacemaking: (Kantkloster) - (speldeweker)
was designed to replace embroidery, allowing dresses to be easily transformed to follow varying fashion design. Lace developed from the embroidery technique of cutwork whereby a design is cut out of a woven cloth. the edges of the cut sections are then secured with thread, both to stabilize the design and to add decorative texture.

>needlepoint lace
>bobbin lace (pillow lace)

. Lace for enhancing the beauty of collars and cuff, needle
. highly coveted luxury, affordable by only the privileges and well-born.
. Girls as young as nine would be fully trained lace makers. Life for a lacemaking student was not easy. Even children worked from dawn till dusk, often in crowded, unventilated rooms without even the most primitive of sanitary facilities.

Dutch Lace
In the Netherlands, needlework was normally done by the women of the household whether rich or poor. It was a matter of course that young girls were taught sewing, embroidery and lacemaking, frequently in order to provide economic support for their parents. However, alongside these household women, there were also a considerable number of professional needleworkers, known as naaisters, who did sewing and needlework for a livelihood. Stories written down by English travelers from the seventeenth century tell us that Dutch houses were full of lace. Dutch lace was used not only to decorate garments but also for adorning household objects. Even their brasses and warming pans were muffled in laces. The people of Holland had unusual customs with lace. For example, they tied lace around the door knocker of their home to announce a new born baby. This was intended not only as a decoration but it also had a practical purpose. The baby would not wake up from knocking because the lace deadened the sound of the door knocker. Dutch lace was exported to other parts of Europe and America through Holland.
https://www.essentialvermeer.com/lace/lace.html

Weaving was seen as an artisanal and not an intellectual activity. Women were believed to be drawn to it primarily because of their assumed innate female capacities and their focus on the practical. Crafts, including working with ‘soft’ materials, were seen as a female activity and had a lower status than painting and architecture.

Kitty van der Mijll Dekker, Greten [Neter-] Kähler, Lisbeth Oestreicher and Otti Berger.

The Bauhaus teachings are clearly evident in their works: ornament derived from technique, with a focus on structure, weave and surprising yarn combinations.

https://www.cover-magazine.com/2019/09/05/bauhaus-i-modern-textiles-in-the-netherlands/

Traditional Dutch Clothing

Each region had its own unique style. In coastal areas, women wore lace bonnets and special hats. Volendam had pointed white hats, and Urk had flowing veil-like hats.

Women’s Clothing:
The outfit includes a long skirt with bright colours and patterns, worn with a blouse. Lace or embroidered caps show a woman’s social or marital status. In places like Volendam, women wear a traditional dress called klederdracht with a bonnet. Today, these clothes are mostly worn at festivals to show cultural pride.

Men’s Clothing:
Men’s traditional Dutch clothing includes a wool jacket, fitted trousers called Broek, and wooden shoes called klompen. These shoes are strong and practical. Men often wear special hats that vary by region. Some clothes have detailed embroidery that connects to history.

Volendam:
The Volendam costume is colorful and unique. Women wear a long dress with a black bodice and white lace. They also wear lace caps called kraplap, which show the area’s fishing history. Men wear wool jackets, trousers, and wooden clogs. These costumes are often seen at festivals where people celebrate local traditions. Dutch costumes, including the Volendam attire, are significant for their historical and cultural value, reflecting regional identities and practical needs.

Marken Costume :
The Marken costume shows the unique life of the island community. Women wear long, dark skirts with bright aprons and jackets. They also wear starched white bonnets or caps on their heads. Men dress similarly to those in Volendam, wearing warm wool clothes for work by the sea. The bright colors and shapes of these traditional outfits connect to the community’s fishing and maritime history, preserving regional identities and showcasing the rich heritage of the Netherlands.

Zeeuwse Costume (Zeeland)
The Zeeland costume is known for its unique fabrics and styles. Women wear long dresses with rich embroidery and a special cap called a kap. The cap changes based on a woman’s age and marital status. Men wear simpler outfits with dark trousers and jackets that are practical for the coast. The design mixes beauty and usefulness, making it good for daily wear and special events, much like other traditional clothes worn during cultural events in the Netherlands.

Hindeloopen Costume:
Hindeloopen attire is known for its bright colors and detailed designs. Women wear long dresses with floral prints and bold colors. They also wear unique caps that match their outfits. This style shows the area’s artistic traditions. Men wear tailored jackets and trousers made from similar fabrics and colors. Both outfits reflect the creativity and artistry of the region. These traditional costumes highlight the historical importance and regional variations of Dutch cultural heritage.

Staphorst and Rouveen Costume:
The Staphorst and Rouveen costume has more muted colors than other Dutch outfits. Women wear long, dark skirts and simple blouses. They also wear intricate lace caps, which show modesty. Men wear practical clothes for outdoor work. These outfits are often worn at local church services and cultural events.
This helps strengthen community ties and celebrate their heritage. Additionally, these costumes are adapted for specific occasions, such as weddings and funerals, highlighting the importance of costume changes for various life events.

The patterns in Dutch clothing show the rich culture of the Netherlands. Different provinces have their own unique styles with bright colors and detailed designs. Many clothes have floral patterns inspired by local plants. These patterns connect nature to everyday life.

Some outfits use geometric shapes, representing stability and tradition. Friesland is known for bold colors and large designs in dresses and vests. In contrast, Volendam features more subtle designs that focus on maritime themes, reflecting its fishing heritage. Patterns also share messages about identity and social status. They can show which community a person belongs to and their marital status.

The variety of patterns across the Netherlands highlights its cultural diversity and connects people to their local history. However, traditional Dutch clothing is no longer part of everyday wear, having been largely replaced by modern fashion trends, and is primarily worn during festivals and special occasions.

The patterns in Dutch clothing show the rich culture of the Netherlands. Different provinces have their own unique styles with bright colors and detailed designs. Many clothes have floral patterns inspired by local plants. These patterns connect nature to everyday life.

Some outfits use geometric shapes, representing stability and tradition. Friesland is known for bold colors and large designs in dresses and vests. In contrast, Volendam features more subtle designs that focus on maritime themes, reflecting its fishing heritage. Patterns also share messages about identity and social status. They can show which community a person belongs to and their marital status.

The variety of patterns across the Netherlands highlights its cultural diversity and connects people to their local history. However, traditional Dutch clothing is no longer part of everyday wear, having been largely replaced by modern fashion trends, and is primarily worn during festivals and special occasions.

https://civilisable.com/traditional-dutch-clothing/

Servet:
A napkin --> a square cloth used during eating to protect clothing from any spilled food.

Textile (Linen)napkin better than the paper one.

"Te klein voor het tafellaken,
te groot voor het servet"

Refers to puberty, who may look mature but are not mentally mature.

Chitti - calico - floral pattern, is a woodblock printed, painted, stained or glazed calico textile that originated in Golconda (present-day Hyderabad, India) in the 16th century.[2][3] The cloth is printed with designs featuring flowers and other patterns in different colours, typically on a light, plain background.

Netherlands: Government presents new asylum and migration restrictions

On 13 September the Netherlands government presented its proposed programme, following the earlier May 2024 coalition agreement. The proposal outlines significant restrictions on asylum and migration.

. Stricter naturalisation requirements
. Selective and targeted labour migration policy
. Greater control over international student influx and limits on the 'Anglicisation' of higher education.
. Self-reliance and participation of Ukrainian refugees

Furthermore, the rule that asylum seekers automatically receive a permanent residence permit after 5 years is abolished. Asylum seekers who have been in the Netherlands for 5 years or more may still be required to return to their country of origin when it is deemed safe.

Finally, the government plans to formally request an exemption from standard EU asylum rules, known as an "opt-out." Border controls will also be tightened to enhance oversight.

https://migrant-integration.ec.europa.eu/news/netherlands-government-presents-new-asylum-and-migration-restrictions_en

This measure is part of the plan of four Dutch coalition parties (PVV, VVD, NSC, and BBB) to make Dutch asylum admission rules among ‘the strictest in Europe’.

Democracy
Head of State: King Willem-Alexander
Type of state: Constitutional monarchy
Seat of government: The Hague
Capital: Amsterdam
Voting: not compulsory

Geography of the Netherlands
Forested land: 11,1% of total surface area
Arable land: 21,96% of total surface area
Total land surface area: 33.948 square km
Including water surface area: 41.526 square km
Belgium borders: 407 km
Germany borders: 556 km
North Sea coastline: 642 km

Other stats and figures
Number of households: 7,24 million
Average life expectancy: 78 years (men) and 82 years (women)
Average age: 38,7
Religion: 6 out of 10 persons profess to being religious
Healthy to very healthy: 81%
Population density: 481,7 people per square km
Cars: 383 per 1.000 people
Walking in dark (perception of safety): 81%
Prisoners: 112 per 100.000 people
Daily smokers: 32%
Broadband subscribers: 4,1 million
Internet users: 15 million
Happiness level (quite happy): 55%
Happiness level (very happy): 40%
Not proud of their nationality: 23%
Very proud of their nationality: 23%
Will fight for country: 69%
Trust people: 54%
Household with TV: 99,42%
Mobile phones: 72,24 per 100 people
Age at first marriage: 30,7 (men) & 28,3 (women)
Average size of households: 2,3
Birth rate: 10,53 births per 1.000 people
Death rate: 8,71 deaths per 1.000 people
Divorces: 39,3 per 100 marriages

Golden Age (16th–17th centuries)

Textile Innovation: The Dutch Golden Age saw the rise of trade and the influence of imported fabrics. This was a period of innovation, with techniques like damask weaving and fine lace-making becoming prominent.

Delft Blue Influence: The iconic blue and white patterns of Delft pottery influenced textile designs, including floral motifs and chinoiserie.

Tapestry Weaving: Dutch cities like Gouda and Delft produced high-quality tapestries featuring biblical scenes, landscapes, and floral patterns, which were used for decoration and insulation.

history of textiles in the Netherlands

18th Century

Chintz (Sits): The Dutch East India Company (VOC) imported chintz from India, influencing local textile patterns. Dutch artisans began replicating these floral and exotic designs in hand-painted or block-printed fabrics.

Household Textiles: This period saw the rise of elaborate embroidery on household linens and clothing, often showcasing floral patterns and delicate stitching.

Medieval Period (5th–15th centuries)

Wool and Linen: During the early medieval period, Dutch textiles were primarily made from wool and flax (linen), reflecting the agrarian economy. Wool, in particular, was abundant and formed the basis of the Dutch textile industry.

Weaving Guilds: By the 13th century, weaving guilds had emerged in towns like Leiden, which became a major textile center. These guilds regulated production and quality.

Patterns: Early Dutch textiles often featured geometric and linear patterns, inspired by medieval European designs and influenced by Romanesque and Gothic art.

19th Century

Industrial Revolution: The mechanization of textile production transformed the industry. Traditional hand-weaving techniques began to decline.

Regional Folk Textiles: Despite industrialization, many regions preserved their traditional styles:

Frisian Costumes: Known for intricate lace caps and colorful embroidered bodices.

Staphorst and Urk: Famous for their “stipwerk,” a resist-dye technique creating dotted patterns.

eeuwse Knopen: While primarily silverwork, the buttons inspired textile motifs in Zeeland.

20th Century

Art Nouveau and De Stijl Movements: Dutch textile patterns embraced modernity, drawing on the geometric
abstraction of De Stijl and organic motifs from Art Nouveau.

Craft Revival: The late 20th century saw renewed interest in traditional patterns, often reinterpreted by
contemporary textile artists.

Traditional Dutch Textile Patterns

Geometric Weaves: Early Dutch fabrics often included stripes and checkered patterns.
Floral Motifs: Inspired by the Dutch love of flowers (e.g., tulips, peonies), these appear in tapestries, chintz, and
embroidery.
Religious and Narrative Themes: Many older textiles include religious symbols, biblical stories, or historical events.

History of Carpets in the Netherlands

Medieval Period (5th–15th centuries)

Carpets were rare in the Netherlands during the early medieval period. Floors were typically covered with rushes or simple woven mats made of reeds or grasses.

Wealthier households might use small imported rugs, primarily from neighboring European regions or the Mediterranean.

Golden Age (16th–17th centuries)

Imports through Trade: The Dutch East India Company (VOC) and the Dutch West India Company brought carpets from Persia, Turkey, and India, particularly during the 17th century.

Persian and Turkish Carpets: These were highly valued for their intricate designs and luxurious feel.

Table Use: In Dutch Golden Age paintings, carpets are frequently depicted as table coverings, not floor coverings. Tables were adorned with rich oriental carpets, often draped over the surface, signifying wealth and taste.

Religious Use: Carpets were occasionally used in churches as altar coverings or wall hangings, adding to the sacred decor.

18th Century

Decline of Table Use: By the 18th century, the use of carpets as table coverings began to decline, coinciding with the introduction of European-style table linens.

Decorative Rugs: Smaller rugs and tapestries started being used more frequently as decorative items for walls or furniture, while utilitarian woven mats became more common for floors.

19th Century

Industrial Production: Mechanization led to the production of more affordable carpets, making them accessible to the growing middle class.

Floor Carpets: With the rise of upholstered furniture and changing domestic tastes, carpets began to be used more often as floor coverings in wealthier homes.

20th Century to Present

Carpets became an essential part of Dutch interiors, often used as floor coverings in living rooms, halls, and bedrooms.

Interest in Persian and Oriental rugs continued, while modern designs also became popular.

Carpets occasionally retained their decorative table or wall usage, especially in households valuing traditional aesthetics.