Enjoyable exhibition. 5 sections. Embroidery as Art; Embroidery in Education; Embroidery as Fashion; Embroidery as Industry; Embroidery as Status. Lots of embroidered examples. I would have liked more theory and writing to account for their categorisation.
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| Joy Clucas, machine embroidery c10" x 12" |
Joy Clucas was an embroidery teacher in Essex, who I met a long time ago. Close up, this image was the most incredibly fine and accurate machine embroidery.
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| Elizabeth Catten, 1775, Quaker School, hand embroidery |
Interesting how the quotation is about restricting what you say. Implies it is directed at women, as it is stitched by a girl. Paternalistic faith? Do as the man of the household says?
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| English smocking. No maker. Lovely stitching. |
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| Mary Decima Rhodes, Three faces of Eve, felt inlay appliqué, 1956 |
I thought this one was quite cleverly done, and had a definite 1950s feel.
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| Arts & Crafts smock. No maker. |
I thought this exhibition made some interesting points. That Embroidery was seen as industry - both personal and commercial. Victorian printed patterns led to embroidery becoming more widespread. Morris & Co could supply completed embroideries or part worked, or kits with all requirements. Also Embroidery as Education - Victorian plain sewing samplers could lead to employment for working class girls as sewing, marking and darning were essential skills.
Royal School of Needlework was established 1872; Embroiders' Guild was started by a breakaway group from the RSN in 1906. Education Act 1902 made needlework and cookery compulsory for girls. (Have looked this up on line and cannot find reputable source that confirms this).
Needlework Development Scheme set up in 1934 in Scotland (during time of depression) to raise standard of embroidery and textile design, and provide employment for women. (Restricted thinking! Perhaps the powers-that-were believed women needed work to do at home).
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