AYRSHIRE

In 1782 an Italian trader, Luigi Ruffini, went to Edinburgh. Being a specialist in fine Saxon embroidery, he introduced this white embroidery there. As this work was perfect for the sleeve ruffles, it quickly gained in popularity. It was easier to wash and more durable than the "bone lace" they had.

In the early 18th century, Glasgow and Paisley were known to have skillful weavers for the production of fine linen. By the end of the century, cotton threads were brought into Britain by the East Indian Company. The Scottish weavers became famous for the manufactory of fine cotton cloth, namely muslin.

Luigi Ruffini used exquisite designs for the tamboured muslin cloth. These designs were made by artists of the Drawing Academy or School of Design. Around 1760, at the early start of the school, only young men did the pattern making. In the middle of the 19th century also young women were allowed in the school, but only as embroiderers. The design was still done by men.

Ayrshire was very famous for tamboured muslin. Many handkerchiefs and fashion accessories had elaborate flower-designs. At the turn of the century, the embroiderers worked at home. The work was sent to them by agents. Mrs. Jamieson of Ayrshire was a famous agent and an excellent needleworker herself.

In 1814, Lord Montgomerie died in Sicily. His young widow moved back to Ayrshire. She was in the possession of a wonderful baby dress, made by a French needleworker. Mrs. Jamieson was asked to copy all the different stitches. She taught this technique in her workroom. Mrs. Jamieson increased the value of the tamboured muslin by adding needlepoint fillings. These reflected the same practice of Alenon technique and other continental needlelaces.
Each worker was a specialist in a particular pattern or filling. The cost of a piece made in Ayrshire depended on the quantity of the needleworked fillings.

In 1837, the lithographic press was introduced to print the outlines of the designs. Tamboured muslin was fashionable at the turn of the century. Ayrshire needlework was popular during the 19th century. It was a good reflection of the romantic period. A needlewoman of Ayrshire earned the same money as a bobbin lacemaker of Devonshire.

During the American war in the 1860s, there was no more import of cotton. This was one of the reasons why the production of Ayrshire work was in decline. By 1870, with the change in fashion from crinoline to the bustle dress, flounces were no longer in demand. Another problem which threatened the Ayrshire production was the machine made embroidery. In Ayrshire, from 1870 until 1890, only older women made the delicate embroidery. The young women didn't learn the technique any more. The design became coarser and was made more in the English style. This work became known as "Broderie Anglaise". By the end of the century, coloured embroidery was more popular than the white Ayrshire work. This meant the end of the history of Ayrshire work.