Well, this happened last week when three friends, Liana, Emilia and Rita, After a grueling day on the train and dragging a suitcase full of questions and curiosity about the lace, finally arrived in Trieste. Twisting a little 'rooms, two were placed in a flood of books, wires, tools, shop window mannequins busts from other drawings, textiles, boxes overflowing with ribbons, pearls, stones hard, a collection of journals, dolls ... so an arrangement that more "artistic" so you can not. To live in a home-laboratory also a good adaptability.
What have we done? Well, not a doily or a flower, nothing even to think of it "finished", but I tried to figure out how I intend to, and "think" a creative lace.
I sent them some trick, some step that is not described on any revised as the result of the experience alone. I pointed out, with computer support, one that is best avoided as already seen too much or because poorly executed or because it is disguised as "modern-contemporary" when, instead In other nations rotate for decades.
Today it is very easy to see the laces imperfect presented as modern creations. From my point of view also the "modern" requires perfect execution, otherwise go to the Fiber Art I repeated my ideas ever: the futility of copying others' work and the need for originality that each job must be taking a cue from the tradition of their places of origin.
Liana in Unity Square 
Cathedral of San Giusto
We shot a bit 'to Trieste, I cooked the "jota" (very full-bodied soup), creamy Liptauer, with sauerkraut ham served with wine Refosco, ... and finished the evening into the night talking about lace.
As always, in my way, I spoke emphatically lace, antique laces have seen and commented, leafed through magazines in which foreign it is impossible not to notice the different concept of lace evolving as an expression of culture and art ... so the days have flown
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