Why embroidery?

Coif (opened flat), linen embroidered with linen and metal thread, spangles; drawn thread work, satin, chain, and needle-lace stitches (front)
British, 1575-1600 Collection of Metropolitan Museum of Art, New York: Gift of Irwin Untermyer, 1964
Coif (opened flat), linen embroidered with linen and metal thread, spangles; drawn thread work, satin, chain, and needle-lace stitches (back)
British, 1575-1600 Collection of Metropolitan Museum of Art, New York: Gift of Irwin Untermyer, 1964
Pair of shoes, silk/leather
French, 1690-1700 Collection of Metropolitan Museum of Art, New York: Rogers Fund, 1906
Pair of mules, silk/metal
British, 1st quarter of 17th century Collection of Metropolitan Museum of Art, New York: Rogers Fund, by exchange, 1929
Linen/silk embroidered Robe a l'Anglaise (open robe consisting of a bodice cut in one piece with an overskirt that was parted in front to reveal a matching petticoat)
British, 1725-50 Collection of Metropolitan Museum of Art, New York: Purchase, Irene Lewisohn Bequest, 1966
Petticoat, silk/cotton
Swedish, 1740-60 Brooklyn Museum Costume Collection at The Metropolitan Museum of Art, Gift of the Brooklyn Museum, 2009; Museum Expedition 1924, Robert B. Woodward Memorial Fund, 1924

“Hand embroidery is a slow and thoughtful process. It can be used to make a piece of art, or add art to a utilitarian object. There is a lot of history behind it – embroidery was always considered women’s work, a craft rather than art, and art was only for men. When I get recognition for my work, I feel like I’m giving all the forgotten women from the past centuries the recognition they never got.”

Waistcoat, silk/metal/linen
Probably British, 1750-70 Brooklyn Museum Costume Collection at The Metropolitan Museum of Art, Gift of the Brooklyn Museum, 2009; Gift of Edwin A. Neugass, 1959
Court suit, silk
1774–93, French Collection of Metropolitan Museum of Art, New York: Rogers Fund, 1932
Embroidered Kerchief, linen
Late 18th century, German, Collection of The Metropolitan Museum of Art, New York: Gift of Margaret Taylor Johnstone, 1921
Blouse, cotton/silk, embroidered in red and blue
Romanian, 4th quarter of 19th century Brooklyn Museum Costume Collection at The Metropolitan Museum of Art, Gift of the Brooklyn Museum, 2009; Museum Expedition 1920 & 1921, Robert B. Woodward Memorial Fund, 1921
Black Dinner Dress, silk/linen/rhinestones, with gold embroidery
French, 1895-90 Brooklyn Museum Costume Collection at The Metropolitan Museum of Art, Gift of the Brooklyn Museum, 2009; Gift of Mrs. Frederic B. Pratt, 1930
Embroidered Tea Gown, silk
British, 1898-1901 Brooklyn Museum Costume Collection at The Metropolitan Museum of Art, Gift of the Brooklyn Museum, 2009; Designated Purchase Fund, 1986

“My favourite thing about embroidery is that on one side of the fabric are all the neat stitches that form a complete picture, while on the other side are the knots, tails and threads crisscrossing. They show the process and create an abstract version of the actual piece (see first two historic images above which show the front & back of a coif).”

“Embroidery is slowly becoming popular again – Firstly because people are looking for hobbies that are good for their mental health. Sitting with your embroidery slows your mind down and it feels good to make something with your hands. You don’t even need to be ‘artistic’ to pick it up – there are loads of embroidery kits designed by artists that include the pattern, instructions and tools needed.”

The environmental option – embroidering with gelatine sequins

“Secondly, I think as people are becoming aware of how the fashion industry is helping destroy the planet. They are interested in buying less and fixing what they have using visible mending, darning, decorative patches etc. This was why I began embroidering onto clothes in the first place – I’ve always tried to make my art with as low an impact on the planet as I could. My own preloved clothes seemed like a good canvas to use rather than brand new fabric. I keep all my thread scraps in a jar to use for other projects and I never use polyester, nylon or other plastic based materials. One of my favourite fabrics for stitching onto is made of organic cotton and bamboo!” Francesca Rea