Basic techniques

Lier lace is made by a hook on tulle. Lace from Lier is made according to an old tambour method. The tulle is crocheted through by taking the thread in your left hand beneath the tulle and the hook above it.
The beginning of the thread is pushed against the underside of the tulle with the left index finger and with the hook, pointing to the left, a little part of the thread is taken to the upperside.
You should hold the long thread with your thumb and middle finger.
You turn the hook a little into the working direction so that a loop arises. Then it should be put back into the tulle through the next little trellis (the holes in the tulle).
The thread is turned around the hook via the underside (counterclockwise) after which the hook is turned counterclockwise and then it is pulled through the loop. Now the thread is stuck.
In the very same way all the other chain stitches are made: crochet in the working-direction through the tulle, put the thread around it, turn the hook and pull through.
To pin down we make sure that the last chain stitch is a little bigger and then we turn the last loop this time clockwise. After this we use the hook to take the forelast stitch from the outside and pull it through the last one. The tension of the long thread underneath the tulle is decisive here.

Most important with lace from Lier is that you trace the pattern perfectly on the tulle. This requires practice because of the tulle has an horizontal and two diagonal thread-directions which can be difficult when beautiful, round arches need to be made.
To be able to tighten the tulle sufficiently, we need an adjustable frame, consisting of 2 slats with holes and 2 beams with grooves at the far ends through which you can feed the slats. On both beams a piece of unbleached cotton is pinned down.

How to start ?
How to end ?
Biography of Greet Rome - Verbeylen

Because of her great passion for Lier Lace she learned the skills of making lace at the Lier Academy of Fine Arts (Belgium) and learned the practice of contemporary bobbinlacemaking at the Aarschot Academy (Belgium).
In order to refine her skills, her interest goes to the origin and nature of similar techniques. She discovered a clear and present relation between the Lier Lace and for example Dentelle de Lunéville, Point de Lunéville, Coggeshall Lace, Limerick and Carickmacross, lace in Hamilton (Scotland and Canada) and the lace of Germany’s Eibenstock.

Her knowledge of these equivalent techniques opens interesting possibilities to her future and actual lace creations. Her outcutted figures and flowers combined with the obvious presence of color bring refinement and airy playfulness to her typical technique.


International Lace Contest at Bailleul
(2001, France)

1st price at the IOLI seminar
"All kin of flowers"

The appearance of colour in the designs was generated by a technique similar to that of a painter: starting with a first basic drawing followed by the search for the right thread, the right colour or nuance, the balance between light and dark and between open and closed fillings. Finally the designs were refined by bringing in thicker threads, little cords or other materials.

Greet Rome - Verbeylen is the founder of “Atelier Kant-e-Lier”, a platform for ancient and contemporary Lier Lace in Belgium. She is the author of a prominent book on Lier Lace, that brings this ancient technique of lace together with contemporary themes and use and a book on Lier lace in colour.
She participated in several exhibitions and was the winner of the International Lace Contest at Bailleul (2001, France) and in 2008 she was the winner of the 1st price at the IOLI seminar "All kin of flowers".

For more than 25 years now, she is a well appreciated teacher of Lier lace (Belgium, France, Germany, Malta, the Netherlands, USA, Canada) and travels around the world to promote and revive this ancient technique.

In her second book Greet Rome–Verbeylen (°1946 Tienen, Belgium), one of the prominent promotors of this craft, explains the technique of Lier lace, provides you with several fillings and finally treats the examples of colored contemporary pieces.

Lier Lace history
The kin of the Lier lace possibly lies in 1809 with the discovery of Heathcoat, a method to produce the two-twisted bobbinnet. But at that time the hook, as a tool to make tamboured aprons on fine fabrics or on silk, was also used in Eibenstock (Germany) and in Lyon (France).

The history of lace in Eibenstock started with Clara Angermann, a Polish lady, born in Bialystock, who arrived as an orphan in a Thorn convent. During her stay she learned the fine art of embroidery and tambour on fine fabric.
In 1775, she was 21 years old, she moved to Eibenstock to live in the “Erzgebirge” with her uncle. As there was a period of starvation in that region Clara Angermanns skills came in handy, because she taught the skill of embroidery to the poor ladies who were looking for a way of earning some money. From 1775 till 1780 Clara introduced this artfull skill bringing back prosperity and wealth to the region.
Heathcoats invention of the bobbinetmachine in 1809 (UK) made these Eibenstock ladies work on the bobbinnet with a little hook. They continued working different styles like Renaissance, Rococo, Baroque, Empire and Biedermeier untill ca 1890, when the Cornellymachine and other modern machinery were introduced.


The real origin of “Coggeshall” lace in the UK returns to the immigration - in 1812 - of Mister Drago, who moved with his two daughters from France to England and opened there a lace school.


Like in the French Beauvais where laceworkers in the early 19th century used the hook to work on linen, the Lunéville craftsmen also worked lace with the hook (1850).
From 1867 on, due to the french haute couture whose demand for beads and sequins grew, the Lunéville beadwork pushed the original lace aside and the Lunéville beadembroidery kept embellishing couture for decades. Lunéville, lacking a continuous tradition in original lace is nowadays especially known for its beadwork.

Lier Lace

As in 1825 mister Timmermans, living in Mechelen, married miss De Keersmaeker who was running a lace school in Lier, the inspiration for their new Lier lace motives originate from the Mechelen and Brussels bobbinlace.
Typical of their lace was - instead of the needle that was used till then - the hook that they used to make the outlines as well as the different fillings. It became a search for contrast between open and close, light and dark effects.
They were at the foundation of the revival of the lace industry and Lier regained its earlier fame of lacemaking centre, as this new technique induced a real industrial revolution to the laceworld: Lier Lace was faster, more elegant and above all cheaper ! Lier produced wedding gowns and veils, lace curtains, church cloths, bonnets for the Dutch ladies, mitaines, napkins, …

The appearance of the Cornely-machine in 1860 resulted in a automation of a lot of outlining work which afterwards was affilled in with handmade chainstitches with the hook.
Because of the similar technique - the design is worked in chainstitches with the hook on the reverse side of the frame and the beads are tacked on the thread underneath - and the growing demand on the market for beads and sequinses, in 1880 the Lier laceworkers were retrained into beadworkers.
Lier became famous for its evening bags and luxury cocktaildresses and accessories. These products were made for Harrods’ in London, Bloomingdale’s in New York and many more shops in North and South America, Scandinavia and Australia. This fashion lasted until 1965.

The craft of Lier lace evolved from 1980 on to a mere but still beautifull textile art. However, untill 1998 there still were a few companies who kept going on with the making of lace, beadembroidery or machine-embroidery until 1998.
Nowadays you only will find traces of the ancient craft in the work of the small groups of ladies, mostly situated in the Lier Beguinage, or in the museum of Felix Van Loock, both keeping the Lier lace alive.



The lace seems to be named after the Duchess of Hamilton in Scotland who started in the 18th century a
charitable school.
Margaret Weir, a Scottish immigrant in Canada and a lacemaker in the late 1800s took her knowledge with her to Saint Mary in Ontario where she made her tambour lace for the rest of her life.In the house once owned by Margaret Weir you can find now St.Marys Museum.
An idea of fillings
N° 54 - 65 - 66 (extract from "Lier lace in colour")

More fillings in my book 'Lier Lace in colour' and in my coming book 'Tips and tricks'.


Soon you can order several fillings by email on this page.
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Books by Greet Rome - Verbeylen on Lier Lace
Lierse kant oud en nieuw
Lier lace in colour

Lier lace tips & tricks

Basic work on Lier Lace and its origin,
the technique and fillings.

B&W, 96 pages. (4 languages)

In her second book Greet Rome–Verbeylen (°1946 Tienen, Belgium), one of the prominent promotors of this craft, explains the technique of Lier lace, provides you with several fillings and finally treats the examples of colored contemporary pieces.

Colour, 56 pages. (English version)

This is the first book on ‘how to’ make Lier Lace. Starting from real examples this book guides you through the process of making your own lace.

Colour, 56 pages. (English version)

BOOK NOT available yet. In preparation.

Price 23€/pc

Delivery by post not included.

Price 29€/pc.
Delivery by post not included.

Content 8
© Greet Rome - Verbeylen 2009