The secrets of lace with Adeline Sapin (Solstiss) The - Embroidery and lace - Première Vision Paris - Denim Première Vision - Première Vision New York
The Autumn-Winter 25-26 season explores the concept of the extreme, or radicalism, a theme one wouldn’t typically associate with lace. At Solstiss, however, this notion of the extreme can be found in the precision and remarkable delicacy of the company’s creations as well as its constant quest to go beyond excellence and experiment with more unconventional designs.
Under the artistic direction of Adeline Sapin, the boundaries of traditional know-how are constantly being pushed, testing the skills of the heritage house. With her unique background as a specialist in embellishments, Adeline Sapin cut her teeth in the couture atelier of Christian Lacroix, a place of unbridled creativity and experimentation, before going on to hone her skills with the embroiderer Lesage. In 2011, she was tapped by Solstiss to transform the collections of the house that was founded in 1974 and specializes in Leavers lace. Certified as an “Entreprise du Patrimoine Vivant” (Living Heritage Company), the company is a symbol of French excellence, quality and expertise. Renowned for its embellished laces – from bead embroidery to cascades of sequins and silicone applications – Solstiss places innovation at the center of its craft, constantly pushing the limits of ingenuity to offer its customers the most exceptional laces.
How does the concept of the extreme apply to lace?
My mission is to push the technical limits of an ancient craft: our Calais-Caudry lace is made on the Leavers loom, which was invented in the 19th century. We harness our skills to create pieces with intricate designs. Solstiss has a vast collection of embellished designs: lace is a high-fancy fabric that can be enriched in infinite ways. Designers are often unaware of the possibilities and areas of exploration offered by this know-how. We develop laces that are siliconized, metallic, inlaid, laminated, and embellished with sequins, crystals, ribbons, feathers… Others are painted or printed. We can include up to four different shades on a base, without counting the colors of the embellishments.
How have your radical designs influenced this heritage lacemaker?
The house’s archives have always been very rich, but when I arrived, I wanted to shake up the collections and open up the field of possibilities. Siliconized lace is a good example: the combination of the two materials creates a unique look, with a light handle, original graphics and a touch of shine. When a dress is made from this material, it creates a strange effect in terms of both visual impact and the handle. People are like, “what on Earth is this?” which is exactly the reaction I’m looking for when I develop new creations: to be surprised.
What are the challenges involved in creating a new lace?
Developing a lace design has always been a long and complex process. Today, digital technology has helped speed up the process, opening up new possibilities, but some designs still present unique challenges. When Jean Paul Gaultier was Artistic Director of Hermès, for example, we created a huge custom lace panel for the house. The design stretched across the entire width of the lace, with a complex pattern integrating a ribbon, which was technically challenging. Lace tends to round out shapes, so creating patterns with spikes is never easy. Then, for the house of Alexander McQueen, Solstiss created impressive figurative designs in lace–we often use abstract motifs– which resembled giant paintings.
Can you share any examples of unconventional techniques used to create complex lace designs?
Our R&D department succeeded in developing a shape-memory yarn that allows lace to regain its original shape and volume after being stretched or folded. It’s one of our greatest achievements!
How can lacemaking, which is such a unique craft, be reinvented to explore new territories?
On a purely fashion level, men’s lace is becoming increasingly popular, enabling us to develop new collections. But we are also working on projects outside of fashion, which inspires innovation. For example, our teams worked on a medical project to develop new gauze weaves used to cover the bodies of burn victims and certain graft zones. Solstiss created a special spider-weblike construction that was better adapted to the reconstitution of damaged skin. The company is capable of developing cutting-edge yarn technologies. As such, it is diversifying from lace designed solely for aesthetic purposes in order to broaden its skills base. In 2021, we were the industrial partner of visual artist Jérémy Gobé, who has developed a project to regenerate coral reefs using lace. We designed a complex lace made from biodegradable plant fibers to support reef regeneration.
What are some of your next challenges? What will the lace of the future look like?
I’d like us to go even deeper in researching new yarns, particularly to meet our ecological requirements. For example, we’ve developed an entirely biodegradable warp (rather than relying on recycling), which has allowed us to experiment with different handles and renderings.
We’re only at the beginning of this R&D project, which is an essential step toward adapting our know-how for the future.