About us



I am the coordinator of the Freehand Lace Research Group.

I was born in 1944 and I have worked with computers all my life. I worked in England for a time, around 1970 and obtained at the same time a B.A. (Hons.) from the Open University. I am now a student at the IT University in Copenhagen.

I started making lace during a school holiday.

I was in contact with Bodil Tornehave for many years, and when she died her husband gave me many of her Freehand Lace books so that I could continue her work. I have been working on the list of Freehand Lace related literature for a long time, and I had talked with Bodil Tornehave about an earlier version, shortly before she died in December 1993. Käte Farcinsen was one of the Danish members of OIDFA's council and she started the Freehand Lace Study Group. When she had no longer time for the council, she suggested I take over and I became co-ordinator of the group.

I know Danish and English, and understand French, German, Norwegian and Swedish.



I am editor of the Canadian Lacemaker Gazette, since September 2000. I became seriously interested in all aspects of bobbin lace since 1995, when  the "arachne lace e-mail list" became active, and the scope of topics literally opened my eyes to the lace world. I became a member of the Freehand Lace study group through e-mail exchanges with Tess in Maine, USA, and Vibeke. Although there is very little to do with this type of lace in my homeland, Canada, one never knows if something will show up in a museum, or turn up as an attic treasure.



I was born in 1929 and have worked with my hands all my life, starting at five with needlework and seven with knitting.  I have a degree in art education and have used it to teach embroidery and knitting in yarn shops and doing my own embroidery designs.  I started lacemaking in 1989 and prefer FHL and the other northern and eastern laces to the fashion laces.  I am entranced with contemporary lace and enjoy seeing it on OIDFA trips to Europe.
My work at the moment is to collect old lace books for scanning onto the web and making CDs.  It brings me a great deal of pleasure to find the books in libraries and through the kindness of other lacemakers, and I enjoy traveling in pursuit of these books.


I am interested in all constructed textiles, having learned to knit and crochet as a child and discovered bobbin lace some thirty years ago. I have been actively involved in The Lace Guild (UK), first as part of the team that drew up the first City and Guilds lace syllabus, later as honorary secretary and in other roles. Being partially self-taught, I am a bit of a dabbler and prepared to experiment - using techniques to produce specific effects rather than being tied to any one tradition. As far as FHL is concerned, my particular interests are in the way the techniques could have been used in the very early laces, such as those in the Nuw Modelbuch, and the way they can be used in tiny laces for dolls houses.


 I am Australian, but I learned to make bobbin lace in England where I lived from 1966-1975, from Nenia Lovesey (who was best known for her needle lace).
From the beginning I was interested in its history and spent hours in the V&A studying lace in the Textile study area. Back in Australia in 1976 I reluctantly agreed to teach and found to my enormous surprise that I enjoyed it. In 1979 I was one of the founders of the Australian Lace Guild, and wrote their bobbin lace correspondence course which I later expanded into "introduction to Bobbin Lacemaking."
From 1983-2003 I was Lace Specialist (part time) at Sydney's Powerhouse Museum, and during that time found I learned a lot from re-construction pieces of lace, or parts of them, in an effort to document them accurately. Apart from my own contemporary lace practice this is now my main lace pre-occupation. The lace I am reconstructing is getting earlier and earlier, and I dream of discovering the exact moment when the cross and twist movements were born!!
I became involved with the Freehand Lace Study Group at Vibeke's invitation because many of the early pin-saving and time-saving techniques I have discovered were later used in FHL. This year I will publish a small book of my findings.
In occasional sane moments I wonder why I am doing this, given that the significant history of lace was over by the time Australia was settled, and I have absolutely no primary resources to refer to!! But with a daughter and grandson living in London, I have a good excuse to visit Europe for study, and Vibeke is wonderful at keeping me abreast of literature I might otherwise miss.


My name is Kate Farcinsen. I was born in 1954 in Copenhagen. My first contact with lace was during my education as teach in handicraft. Lacemaking became my favorite subject and I have been teaching many different kinds of lacemaking for about 15 years. in the end I found that Free Hand Lace was my personal favorite and I have been working that for some years. Since 1999 I have been involved in Network Marketing (Aloe Vera products) and I am still building my own business in that area. I don't have time for lacemaking at present, but when my business "can take care of itself" I will be starting to work with FHL again.



 I began making lace in the early 1980s and soon began teaching lacemaking to - initially keeping just one step ahead of the students! As far as making goes my main interests are Bucks Point and Bedfordshire lace and using lace in a contemporary way. However I am also very interested in the history and development of lacemaking which is why I joined the Freehand Lace study group in 2000 at the OIDFA Congress in Lund. Since then I have tried working samples of freehand lace and am intrigued by how their 'minimalism' (no pricking and very few pins) can result in such variety.



I am a PhD student in Textile Science at the Uppsala University.  My thesis is about metal bobbin lace, 1580-1630 (approximately).
I've been practising freehandlace since 1975, when I learned "dalknyppling" from Åsa-Lena Denke Löddöen. The last years (before I was accepted as Ph D student) I have been working with the freehand-lace in Hälsingland with another FHL-group member, Eva Carlborg.
I see myself as a "resting" member, I am doing my own research, but I will be happy to help anyone else, and am willing to share.




I started lacemaking 20 years ago. During the years I tried to learn every existing lace-technique.  In FHL I am fascinated to find the original things from for example Torchon lace. Very early I was asked to begin  teaching lace.  I am also interested in lace history and reconstruction. All I learn about lace I tell others in lectures and articles.
My personal favourite are the very fine laces like Chantilly or Binche. On the other hand I try to create laces which represent our time because I think we should not only rework the traditional things but also bring lace into the 21st century. I speak German, and understand English
and French (French not as good as English).



Inga has published books and articles as Inga Pentikäinen.

I was born in 1926, and I am a retired nurse. I have always been very interested in handicrafts and I might have chosen to become a needlework teacher. I started making bobbin lace here in Helsinki in 1965 and I happened to get in contact with the lace courses in Vadstena (Sweden), which I visited 1973 -1976. The teacher in Delacarlia lace, Åsa-Lena Denke-Lödöen, urged me to start working
with our laces from Karelia, which had been preserved at Finland´s National Museum for 100 years. I then got a bursary from the Finnish state to have time off from work. In addition I returned to work with the Karelian laces several times from 1977, without any intention of publishing. My friend from the Vadstena courses Britta Ericson offered to make the diagrams.
At last in 2004 the book NYYTINKI was published by Barbara Fay. It also contains the laces from the islands in the Finnish Bay, which Irma Leimulahti has researched. Both types of lace are made freehand and both come from the area we ceded to Russia in 1944.
I speak Swedish, Finnish, and German, and I understand English, Danish, and Norwegian.